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Cornell University Library 
 MT 140.W52 
 
 How to study the pianoforte works of the 
 
 III 
 
 3 1924 022 373 736 
 
 CORNELL 
 
 UNIVERSITY 
 
 LIBRARY. 
 
 MUSIC 
 
Cornell University 
 Library 
 
 The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924022373736 
 
HOW TO STUDY THE 
 PIANOFORTE WORKS 
 
 OF THE 
 
 GREAT COMPOSERS 
 
 HANDEL HAYDN 
 
 J. S. BACH MOZART -^ 
 
 D. SCARLATTI CLEMENTI 
 
 C. P. E. BACH BEETHOVEN 
 
 BY 
 
 HERBERT WESTERBY 
 
 MUS.BAC, F.R.C.O., L.MUS., T.C.L. 
 
 WITH 123 MUSIC EXAMPLES 
 
 LONDON 
 WILLIAM REEVES Bookseller Ltd. 
 
 la Norbury Crescent, S.W.16 
 
Popular Edition {without portraits) 
 

 CONTENTS 
 
 
 Introduction 
 
 PAGE 
 .. 1 
 
 Chapter 1. 
 
 Handel 
 
 .. 3 
 
 Chapter 2. 
 
 J. S. Bach 
 
 .. 25 
 
 Chapter 3. 
 
 Domenico Scarlatti 
 
 .. 61 
 
 Chapter 4. 
 
 C. P. E. Bach and Haydn 
 
 .. 81 
 
 Chapter 5. 
 
 Mozart 
 
 .. 105 
 
 Chapter 6. 
 
 Clementi 
 
 .. 155 
 
 Chapter 7. 
 
 Beethoven 
 
 
 
 I. 1781-1800 
 
 .. 183 
 
 
 n. Mature Period (1800-14) 
 
 .. 219 
 
 
 III. Third Period (1816-23) 
 
 .. 265 
 
INTRODUCTION. 
 
 THE present work is intended for the average 
 moderately advanced pianoforte pupil who wishes 
 to go beyond the dips into the classics made during 
 the course of instruction and to learn to know some- 
 thing of the best pianoforte literature as a whole. 
 
 To do this it is necessary to build a foundation on 
 the classics and proceed later, in historic order with the 
 Romantics, and the more modern national schools of 
 thought. 
 
 No proper idea of pianoforte literature can 
 be gained unless the historic trend of the various com- 
 positions is kept in view ; and this, it may be said, has 
 been the author's principal aim throughout. For the 
 same reason only those principal composers are chosen 
 who are in the direct line of progress. 
 
 Space was not forthcoming for complete biographies 
 of the masters concerned, but the student is directed 
 to the introductory list of books appended to each 
 chapter, as well as to the various principal editions 
 recommended. From these the reader can select any 
 
 3 
 
2 Introduction. 
 
 necessary additions to that library which every ama- 
 teur and professional student should aim at forming 
 As regards the interpretation of Beethoven's sonatas 
 an attempt has been made to draw a middle line be- 
 tween the flowery interpretations of Elterlein and tht 
 formal analyses of the academic texts. For the resi 
 it may be said that it is very necessary for the student 
 to consult and play over the works described in con- 
 junction with the book itself, if he or she is to under 
 stand and enjoy the many beauties present in them. 
 
 That this little work may be found a practical anc 
 reliable guide is the earnest wish of the author. 
 
" 1 am always glad when I find that the intellect concerns 
 itself with Music : when beautiful music sounds learned it pleases 
 me as much as when I hear clever talk at table." — Frederick 
 THE Great. 
 
 CHAPTER I. 
 
 HANDEL (1685-1759). 
 
 ILLUSTRATIVE PROGRAMME. 
 
 1. Allemande, Sixteenth Suite. 
 
 2. Allegro, Fourteenth Suite. 
 _j. Sonatina in B flat. 
 
 ^. Fantasia in C. 
 
 j. Prelude and Allemande, First Suite. 
 
 6. Courante in F. 
 
 J. Sarabande, Elezenth Suite. 
 
 8. Minuet in F. 
 
 g. Gavotte (varied), Fourteenth Suite. 
 
 10. ■ Gigue, First Suite. 
 
 11. "Harmonious Blacksmith, Fifth Suite. 
 
 12. Fugue in C. 
 
 I J. Fugue in F minor, Eighth Suite. 
 14. Prelude, Third Suite. 
 75. Capriccio, Second Suite. 
 
CHAPTER I. 
 
 Handel (1685- 1759). 
 
 BEFORE commencing to speak in detail of the 
 composers, Handel and Bach, I wish to say that 
 the discussion of the various composers of pianoforte 
 music will be confi.ned to those who were eminent in 
 the various branches of the art, and to those whose 
 works made for progress in some particular direction. 
 For with music, as with pictorial art and literature, 
 there are many branches or spheres of interest 
 and many styles. The various evolutionary stages 
 of the art, from the polyphonic or vocal style 
 to the purely harmonic, are all represented in piano- 
 forte music, just as are the various phases of human 
 thought in literature, i.e., the reflective, the purely in- 
 tellectual, the sensational, the poetical, the descriptive 
 Influences ^"^ characteristic, and the impressionistic. 
 of the The mental attitude of the tiities in which 
 Period. Handel and Bach lived can be realised if 
 we but look at their features. It was the time of the 
 powdered wig and peruke, when men made much of 
 
Handel (1685-1759)- S 
 
 ceremony, and when stateliness and dignity ruled in 
 art and literature as in society. Typical ruling 
 monarchs of this time were Queen Anne and George 
 the First in England and Frederick the Great in 
 Prussia. In literature it was the ponderous Dr. John- 
 son, the satirical Dean Swift, the poet Pope, and 
 Addison the essayist. 
 
 At this time all branches of musical art, both vocal 
 and instrumental, were in full activity, though Italian 
 opera was comparatively new in England, as it had 
 only been introduced some four years before Handel 
 arrived in the country of his adoption. As regards 
 opera the ground here had been well prepared by 
 Locke and by our greatest English composer till 
 modern times — I refer to Purcell, who died in 1695, 
 while Bach and Handel were yet young boys. 
 
 I choose Handel and Bach as the subjects of my 
 first chapters because these two composers (together 
 with their contemporary, Dom. Scarlatti) stand, firstly, 
 at the head of the purely polyphonic period of musical 
 art, and, secondly, because they are the principal com- 
 posers for the harpsichord and clavichord (the fore- 
 runners of the pianoforte). 
 
 Before going further it will be necessary to explain 
 certain general conditions and qualifications. 
 
 4 4 <fe 
 
 The word folyphonic, meaning, as it does, many 
 
6 Conversations on the Pianoforte Classics. 
 
 voiced, applied originally to the purely vocal style in 
 Polyphonic which early music for the church and for 
 
 Music, the organ was written, as it were, in separ- 
 ate parts, each part forming a separate melody. In 
 the efforts to keep the various parts interesting, these 
 parts were made to echo or imitate each other at various 
 distances or intervals and in various keys according 
 to canon or rule. Compositions in this style became 
 eventually very florid and gave rise to the highly com- 
 plicated and artistic compositions called fugues. 
 
 I do not intend to go into a description of the fugue 
 just now, but a general idea of the fugue may be best 
 gained perhaps by hearing a chorus sing one of Han- 
 del's mighty choruses, or from hearing a thunderous 
 Bach fugue on the organ. To resume — musicians at 
 this time were not content to keep polyphonic works 
 for voices or organ only, but began to transfer such 
 compositions to the dainty, tinkling spinet (a minia- 
 ture harpsichord) and the similarly delicate but ex- 
 pressive clavichord. No doubt the transfer seemed 
 a little incongruous, but people wanted to hear in the 
 seclusion of home what they had heard in church or 
 elsewhere. These transferred pieces were really what 
 we now call " arrangements." But the means to an end 
 was lost sight of to some extent, as it often is, and 
 composers wrote numerous works in this vocal or organ 
 style for what we should now call these "tinkling" 
 instruments. 
 
 In England the spinet was mostly called the vir- 
 
Handel (i68^-iy^g). y 
 
 ginal, and in the time of Queen Elizabeth the English 
 school of virginal composers was the foremost in 
 Europe. 
 
 English composers were, however, not content with 
 the many-voiced style, and they experimented in tech- 
 nical feats at the keyboard, which even to-day inspire 
 respect. This was especially so when they wrote varia- 
 tions on popular song and dance themes of the day. 
 
 « 4 4 
 
 You are aware that the sound of the piano is caused 
 
 The '^y little felted hammers striking on steel 
 
 Harpsichord wires. Each note is struck from the key- 
 
 and board and is produced by two or three 
 
 avxc ora. .^j,.gg tuned to each note in the scale. 
 
 The .strings of the various varieties of the harpsi- 
 chord and clavichord were comparatively fragile and 
 often of brass. In the harpsichord the strings were 
 plucked by quills. With the clavichord the strings 
 were pushed, as it were, by brass wedges on levers 
 connected with the keys. Little or no variation of 
 tone could be had from the harpsichord for which 
 Handel and Scarlatti wrote, but the clavichord, which 
 was Bach's favourite instrument, was specially expres- 
 sive. You will shortly see that the instruments had 
 some effect on its composers, for while the strong point 
 with Handel and Scarlatti was brilliance and broad 
 melody, that of Bach was his expressive, and for his 
 age, quite poetic style. 
 
8 Conversations on the Pianoforte Classics. 
 
 We spoke of Bach and Handel being at the head of 
 the polyphonic period. Of their predecessors there 
 Predeces- ^^^^ *^ remarkable early English school 
 sors of Bach consisting of Bird, Bull and Gibbons, and 
 and Handel, the later composers, Purcell (died 1695), 
 Arne and others who just preceded or were contem- 
 porary with Handel. In France there were Cham- 
 bonniere, D'Anglebert, and especially the famous 
 Francois Couperin, born 1668, who wrote very many 
 dainty characteristic pieces in his suites of pieces. At 
 this time French composers set the fashion of the day 
 in their "Suites" or collections of old dance tunes. 
 
 In Italy, Frescobaldi and especially Pasquini (b. 
 1637), through his toccatas, etc., led the way, while in 
 Germany the eminent Frohberger (d. 1667), also Kerl, 
 Pachelbel, Muffatt and Buxtehude (d. 1707), did much 
 to pave the way for the musical giants Bach and 
 Handel, of whom we must now speak. 
 
 <& <S « 
 
 I do not in this volume of sketches intend to go 
 fully intojthe lives of the composers. 
 
 I am presuming that you have already read some- 
 thing of <these in one of the numerous books devoted 
 to the lives of the great composers. 
 
 As regards Handel, we in England have always 
 Handel's taken a special interest in the Saxon corn- 
 Life Story, poser. He is buried in Westminster Abbey 
 and lived most of his life in this country. 
 
 Speaking briefly, young Handel, who was born at 
 
Handel (1685-1759). g 
 
 Halle, near Leipzig, in 1685, managed, while yet a 
 child, to learn the spinet in secret in his father's garret. 
 At ten years of age he appeared as a prodigy in Berlin, 
 and at eighteen went to Hamburg as a violinist in the 
 opera house orchestra, of which he became conductor. 
 Having saved money, Handel as a young man made 
 a pilgrimage to Italy, where he spent three years. A 
 conductorship at the hands of the Elector of Hanover, 
 who became George I of England, led to his 
 connection with this country. It washere that Handel 
 made his reputation as conductor and composer of 
 Italian opera in London and later on in connection 
 with his immortal oratorios. 
 
 To find out and to understand fully the distin- 
 guishing qualities of Handel's music we must en- 
 quire into its structure and see how it is made, so to 
 speak. We must then consider the result in relation 
 to the musical influences of the time in which Handel 
 lived. 
 
 First of all when we look closely into the music 
 which Handel composed for the harpsichord, we must 
 remember the pianoforte though invented ijog, did 
 not begin to come into general use until some time 
 after Handel's death. We must also remember that 
 Handel's music, as composed for the feeble resources 
 of the harpsichord (with its thin brass strings and 
 peculiar plucked sound), never could have had in its 
 day the brilliance and effect which we now associate 
 with the modern piano. The peculiarities of Handel's 
 
10 Conversations on the fianoforte Classics. 
 
 music do not lie on the surface, and if we listen in- 
 tently to the performance of the Allemande in G 
 minor from the sixteenth number of the " Suites " of 
 pieces containing among others, certain old and quaint 
 dance forms we shall discern these things: (i) The 
 melody parts seem to come as much in the left hand 
 as in the right, and (2) it is full of what we call points 
 of imitation. 
 
 Allemande in G minor. Vol. III. in Universal Edition. 
 
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 At the period in which Handel lived, a free and 
 
 really instrumental style had not then developed. 
 
 Handel's In- Everything was more or less dominated by 
 
 strumental the polyphonic style of music originally 
 
 Style. writteri for voices. As I have already said, 
 
 however, Handel was principally known for his 
 
 mighty oratorios. In these oratorios the choruses take 
 
Handel (168^-1759)- n 
 
 the higher place, and the distinguishing feature of 
 these choruses, as they are woven together through the 
 various voices, is the way in which each part goes on 
 its own way rejoicing, so to speak. Each part is a 
 melody in itself. In these choruses there are gener- 
 ally four or hve separate parts. Now the harpsichord 
 music of Handel, Bach, Couperin and Scarlatti and 
 other composers of this period is written mostly in 
 the style of these separate vocal parts with a good deal 
 of "imitation" or "passing" from one part to an- 
 other after the manner of the chorus. But there is 
 this difference in the instrumental style, and that it is 
 as a rule much " thinner." You will find generally 
 the pieces run in two parts with occasional three parts 
 and full chords here and there, and consequently the 
 effect is " thin " compared with modern work. The 
 effect must have been "thinner" still when we remem- 
 ber the tone effects of the instruments of the period. 
 When more parts were used it was generally when the 
 scientific form called the fugue which you might 
 almost say is all imitation, was being adapted to the 
 instrument. 
 
 Apart from the prevailing two-part style, we notice 
 
 also that it is generally one theme that is being imi- 
 
 jl;g tated and being tossed, as it were, from one 
 
 Imitative part to another, and from one key to 
 
 Style. another. Sometimes this fugue or theme is 
 
 kept all in one hand as in the allegro from the Four- 
 
12 Conversations on the Pianoforte Classics. 
 
 teenth Suite while the left hand has either an accom- 
 paniment or a melody of its own. Sometimes both 
 melody and accompaniment may be freely passed from 
 one hand to the other as in the short Sonatina in B 
 flat. There are times, however, when Handel launches 
 out extensively into that simple kind of broken chord 
 figuration which was much used at that time, and 
 probably originated with the Italian violin composers 
 as in the Fantasia in C. In this you will see the oscil- 
 lating broken chord figure is used both as an accom- 
 paniment and for imitative figures. This piece has 
 also been termed a sonata. In those days a sonata had 
 a different meaning from that of to-day. At that time 
 the Italian word sonata meant a piece to be sounded or 
 played as compared with the word cantata, a piece to 
 be sung. 
 
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 You will remember I spoke of the word suite which 
 signifies a collection of pieces. The English equiva- 
 The lent is a set of pieces, in German fartita 
 Old Suites, (like our word party), and in French partie 
 or order meaning a class or set of pieces brought to- 
 gether in a certain order. These " orders " or " suites " 
 consisted of pieces of various styles, originally in 
 polyphonic {j.e., many voiced or imitative) style, then 
 with a sprinkling of old dance forms, and latterly, 
 more and more confi.ned to the old dance forms alone, 
 so that eventually it became a recognised thing for a 
 suite or set to consist of four dance forms, viz., alle- 
 mande, sarabande, courante and the gigue, with the 
 option of inserting additional movements such as the 
 gavotte, bourree, minuet, or a set of variations (then 
 termed doubles) before the last piece. A prelude or 
 overture — terms then having practically the same 
 general meaning, i.e., something "to play before" — 
 were sometimes also used as an introduction to the 
 
 suite. 
 
 ■S « ■& 
 
 The special feature of the suite was that all the 
 
14 Conversations on the Pianoforte Classics. 
 
 pieces were in one key. You will see then that the 
 The necessary contrast between the pieces had 
 AUemande. to be obtained by different styles, rhythms 
 and rates of movements. The first movement, usually 
 an allemande, was a busy bustling piece, but taken 
 moderato and with dignity in 4-4 time. It was full of 
 semiquaver passages running from one hand to the 
 other, making as it were a good send-off. The word 
 "allemande" is a French word signifying a piece in 
 the German style. The French suite composers, I 
 expect, liked to have a piece in the more pretentious, 
 imitative or polyphonic style of the Germans to begin 
 with. 
 
 I propose that you play over a very fine prelude 
 from the first of Handel's suites written in very free 
 and declamatory style and full of arpeggiando pas- 
 sages (the rendering of which is left to the discretion 
 of the performer), also the succeeding allemande, in 
 which melody is combined with interesting points of 
 imitation. 
 
 * * <% 
 
 The next movement in a suite — usually the courante, 
 is of a cheerful, energetic, " running " character. The 
 The courante was derived from a French dance, 
 Courante. the word courir from which it was named 
 meaning "to run." There are different types but it is 
 usually in triple time and more staccato (at least with 
 Handel), in general style and not so complicated as the 
 
Handel (1685-1^59). 15 
 
 allemande. Take for example, the Courante in F 
 ("Easy Pieces," Biilow) and you will notice the gay 
 effect ensuing from the piquant staccato passages. 
 
 <fe 4 <a 
 After the comparatively active courante the con- 
 trast was furnished by the majestic and stately sara- 
 Xhe band, full, as you can imagine, of statu- 
 Saratande. esque pose and set in quite a differ- 
 ent rhythm, that of 3-4 time. The sarabande, 
 an ancient Spanish dance was introduced into 
 Paris in the seventeenth century, by a dancer of 
 the name of Sarabanda, from whom it took its French 
 name. I would refer you to an example from the 
 Eleventh Suite in D minor. You will note its simple, 
 dignified and melodious character. Already you will 
 have noticed one distinguishing feature of Handel is 
 his never-failing store of broad, Italian,- golden-tinted 
 melody. You will remember that Handel went to 
 Italy as a young man and there he imbibed the pas- 
 sion for melody, without the instinct for which no 
 composer can ever capture the hearts of his hearers. 
 In this instance Handel is not content with the simple 
 sarabande, hut he weaves out of it two delightfully 
 simple variations in addition. 
 ■S 'S <s 
 Of the optional dance movements usually inserted 
 after the sarabande we may mention the piquant yet 
 -stately French minuet. Notice the example by Handel 
 in the key of F (No. 3 in the " Easy Pieces "). 
 
1 6 Conversations on the Pianoforte Classics. 
 
 The lively gavotte, an old dance of south France 
 origin is also occasionally used. A simple example 
 The Gavotte with variations added, is seen in the Four- 
 andGigue. teenth Suite in G ("Easy Pieces," No. i). 
 The gavotte is generally in duple time. I might say 
 also that variations are frequently added both to the 
 dances and to the additional airs. 
 
 The usual last movement of the suite is the gigue 
 which is named after the old word for a fiddle, giga 
 or gigue. The slurred triplet style of the gigue sug- 
 gests that the dance was originally fiddle music. Its 
 vigour and go make it an admirable wind up to the 
 suite. The gigue from the A major Suite ("Easy 
 Pieces, "No. 6), of Handel forms a spirited example. 
 
 Giffue, in A major Suite. 
 
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 Taking the suile as a whole it is wonderful what 
 
Handel (i68^-iy^^). 17 
 
 interest the old masters managed to put into it con- 
 Handel's sidering that all the movements are in one 
 Suites. and the same key. Handel, it should be 
 mentioned, was not so orthodox as other composers, 
 in the constitution of his Suites (especially in the first 
 book) in which we find fugues, adagios, andantes, 
 allegros, etc., but they are always interesting. Perhaps 
 we should say that Handel used the earlier or more 
 mixed type of suite, especially as regards the first 
 book. I should like you now to listen to or play the 
 final movement from the Fifth Suite in E : the well- 
 known air with variations, known as the "Harmonious 
 Blacksmith." You will note that in this suite the air 
 with variations took the place of the usual gigue. 
 
 Many fables have arisen over the "Harmonious 
 Blacksmith," but it seems now certain that the title was 
 given by Lintern, a publisher, of Bath, who wished to 
 associate the memory of his father, a blacksmith, with 
 the piece. 
 
 Apart from this the clanging repeated "dominant" 
 notes in the variations do rather suggest the regular 
 recurring anvil stroke of the village blacksmith. 
 
 "Harmonious Blacksmith.'' Air with Variations, from Suite in E.* 
 
 * This Air is said to have been used by Wagenseil (d. 170S). Handel's First 
 Collection of Eight Suites was published by himself in 1720. 
 
1 8 Conversations on the Pianoforte Classics. 
 
 These Conversations or Descriptions I intend to be 
 
 intelligible to the average pianist, and therefore I do 
 
 Fugue not purpose to go fully into the construction 
 
 Structure, of a fugue, but as some idea of the same is 
 necessary to understand the works of this period, I 
 vifould refer you to part of a simple example in C 
 from the "Petites Fugues" of Handel. In this you 
 will notice that the three-bar theme appears succes- 
 sively as it were in the treble, alto, tenor and bass 
 voices, but in the alternate alto and bass parts it comes 
 in the key of G, i.e., the dominant. After this there 
 are four bars of filling up, followed by the theme in 
 the treble and alto in G and C respectively. There 
 are no further complete entries of the melody but there 
 are some five short sections built up in imitation or 
 sequence upon various fragments of the same. In a 
 more complete fugue there would be usually a more 
 complete set in the middle of the composition consist- 
 ing of the alternating entries of the tonic and domin- 
 ant, and then there would be a final group beginning 
 like the first, but more closely woven together. There 
 is no form, I should say, which is freer than the fugue, 
 but there are, of course, certain recognised lines along 
 which it works. 
 
 •fe « 4 
 Handel does not make his fugues as scientific in 
 form as Bach. He fills up much more with general 
 
 Handel's imitation and sequential matter, but, on the 
 Fugues, other hand he is more rhythmical, while 
 
Handel (168^-1759)- 19 
 
 his melodic sentences are more regular in form, and 
 hence they are always interesting, sometimes more so 
 than Bach's owing to the latter's more linked and ex- 
 tended style. The fugal structures, so characteristic 
 of the age, bring to one's mind Milton's words from 
 his poem, " L'Allegro " : 
 
 In notes, with many a winding bout 
 Of linked sweetness long drawn out, 
 With wanton heed and giddy cunning 
 The melting voice through mazes running, 
 Untwisting all the chains that tie ^ 
 
 The hidden soul of Harmony. 
 
 The best known of Handel's fugues is the brilliant 
 one in E minor from the fourth Suite. We spoke of 
 these free additional movements to suites. Handel 
 has no fewer than five fugues in the first book of Suites ; 
 in the second book, curiously enough, there are none. 
 
 Subject of E minor Fugue— Fourth Suite. 
 Allegro. ^^^ ^^^^ ^^^ 
 
 ^^^-^0^^^^m 
 
 The E minor Fugue is fairly regular in form. The 
 F sharp minor Fugue is reflective and quiet in tone. 
 
 The F minor Fugue again is bolder and more mas- 
 culine, while both are melodious and interesting. You 
 
20 Conversations on the Pianoforte Classics. 
 
 will notice their regular rhythmical character, and how 
 the theme in the F minor is doubled in free style in 
 chords. 
 
 Of the other movements of Handel's suites there is 
 little to choose between them for general interest. 
 Owing indeed to their melodic and rhythmic qualities 
 Handel's sixteen suites are perhaps more uniformly 
 interesting than those of Bach. 
 
 t^ <fe 4 
 
 If we particularise further : we may say that 
 Handel's gigues are always piquant. Of his preludes 
 
 Special the D minor (third suite) is particularly 
 Movements, bold, reminding one in its sweeping arpeg- 
 gios of Bach's C minor Fantasia. 
 
 The majestic sarabande of the seventh Suite always 
 keeps in one's memory. We note also a very free and 
 toccata-like Allemande in F minor belonging to the 
 Eighth Suite. 
 
 Of the various additional airs, adagios and allegros, 
 the student will note likewise the genuine, highly orna- 
 mental Italian style of the melody of the opening 
 adagio of the second Suite. This suite which, excep- 
 tionally, contains no dance forms whatever, has a par- 
 ticularly interesting and energetic presto or capriccio. 
 There are also the well-known Allegros in F and G 
 minor and the variation form known as the Passacaille 
 to be mentioned. 
 
 ■S ■* 4 
 
 Handel wrote, on the whole, really little harpsichord 
 
Handel (idS^-iy^g). 21 
 
 music compared with his other work, and with the 
 similar compositions of Bach. Besides his sixteen 
 suites, there are some fugues, miscellaneous pieces and 
 lessons. Among these we may mention the " Cha- 
 conne'' and "An Air with Variations" in B flat 
 (Germer, No. 21). 
 
 Air with Variilions in B flat.* (Universal ELiilion, Vol. II., prge l8.) 
 
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 * Brahms has also written Variations (Op. 24I on this theme. 
 « ■& « 
 
 Altogether you will see the quantity of his music is 
 not great but when we consider its quality its general 
 interest and effectiveness, we may truly say that there 
 is a great deal which we would not willingly lose. 
 
 In summarising Handel's work you will remember 
 his gift of melody — -Italian melody — and compara- 
 tively straightforward style considering the many- 
 voiced imitative style of his day. 
 
 The clearly defined periods of his melody contrast 
 well with the more linked and closely woven style of 
 Bach, whose music we shall next consider. 
 
22 Conversations on the Pianoforte Classics. 
 
 PRINCIPAL EDITIONS. 
 
 Universal Edition, 5 vols. (Dorr), is. 6d. each net, 
 
 n , . except Vol. IV, is. net. The Universal 
 Uomplete . . - , . 
 
 Pianoforte Edition recently completed in nve vols, is 
 
 Composi- the best. 
 
 tions. "Breitkopf" Edition (1784-6, Kuhner 
 
 Edition), 3 vols., 2s. each net. 
 
 LiTOLFF ( 1 80-1), Suites, 2 vols., is. 3d. each net; 
 (182), Other Compositions,' is. 3d, or complete (353). i 
 vol., 3s. net. 
 
 Peters (413:, h), Sixteen Suites, 2 vols., is. 8d. each 
 net; (4c), Lessons, Pieces and Fugues, is. 8d. net; (4;^), 
 Fuguettes, is. id. net. 
 
 Augener (8153), Twelve Easy Pieces (Billow Edi- 
 tion), IS. net. 
 
 Steingraber (210), Favourite Composi- 
 tions (Bischoff Edition), 3s. net, bound, 
 2s. 6d. or 3s. 6d. extra. 
 
 Besides the above popular edition there is the large 
 collective edition issued by the German Handel Society 
 (Breitkopf and Hartel). 
 
 Rockstro. "Life of Handel," 1883, los. 6d. 
 (Macmillan.) 
 Biographies. ^ p WILLIAMS. "Handel" ("Master 
 
 Musician Series"), 3s. 6d. net. (Dent.) 
 
 Marshall. Handel in "Great Musician Series," 3=. 
 (Low.) 
 
Handel (idS^-iy^C}). 23 
 
 HADDEN. "Handel's Life." (London, 1904,) 
 Streatfield. " Handel." 
 
 A. Whittingham. "Life and Works of Handel." 
 SedleY Taylor. "The Indebtedness of Handel to 
 Work of Other Composers." 
 
 Handel. Bell's "Miniature Biographies." 
 
 Victor SchoELCHER. "The Life of Handel," 1857. 
 
"... and BACH, old father of Fugues with his endless fine 
 talk." — Leigh Hunt. 
 
 CHAPTER II. 
 
 BACH (1685-1750). 
 
 ILLUSTRATIVE PROGRAMME. 
 
 /. French Suite in G. Allemande, Courante, 
 
 Gavotte and Gigue. 
 
 2. Prelude, Second English Suite. 
 
 5. Bourree, First English Suite. •"' 
 
 4.. Gavotte, Sixth English Suite. 
 
 5. Sarabande, Fourth English Suite. 
 
 6. Allemande, Fourth English Suite. 
 
 7. Gigue, Sixth English Suite. 
 
 8. -Italian Concerto (Excerpts), 
 g. Preludes in F and D. 
 
 10. Two-Part " Invention " in F. 
 
 11. Three-Part " Invention " in G minor. 
 
 12. Capriccio, " The Departure of a Brother " (Ex- 
 
 cerpts), 
 ij. D major Toccata. Recitative and Allegro. 
 14.. Fantasia m C minor (Section), 
 i^. Chromatic Fantasia. 
 
 
CHAPTER II. 
 Bach (1685-1750). 
 
 BEFORE speaking of Bach's compositions we may 
 make some interesting comparisons between the 
 twin giants of polyphony, as Handel and Bach 
 have been termed. These two composers were both born 
 in the same year (1685) within a few miles of each other. 
 It may seem strange that these remarkable men, in 
 spite of mutual intentions, were apparently fated never 
 Contrasts ^'^ meet each other. Handel came of an 
 with unmusical family. Bach, on the other 
 Handel, hand, was the descendant of a long line of 
 composers and organists. Handel, a bachelor, was 
 ever a traveller, a favourite at courts and always in 
 the glare of the public eye. Bach was a domesticated 
 man and a stay-at-home. In one thing alone these 
 two men were alike, and that was in the unfortunate 
 attack of blindness, the result of over-study, which 
 overshadowed their last days. Handel, again, wrote 
 in the fashionable Italian style. Bach in the homely 
 but expressive North German dialect of his time. 
 
 26 
 
Bach (idSyiy^o). 27 
 
 Bach was born in the pretty town of Eisenach in a 
 neat and comfortable house now turned into a Bach 
 museum. Young Bach was taught by his 
 father and his brother, and occupying several 
 small posts, became organist in the artistic town of 
 Weimar, 1 708. A subsequent appointment at Cothen in 
 17 17, followed by twenty-seven years' service as cantor 
 (precentor or choirmaster) at St. Thomas's Church, 
 Leipzig (where he died in 1750) sum up the career of 
 the greatest composer of harpsichord or rather of clavi- 
 chord music, and of the greatest organist and organ 
 composer the world has ever known. 
 
 I have spoken of the difference in the circumstances 
 Bach's of life surrounding Handel and Bach. It 
 Style. is not surprising that Bach's stay-at-home 
 life is shown in his music. We might say that Bach's 
 music is the language of a poet, who is also a recluse 
 a,nd sometime? almost a hermit, and of a poet, who, 
 as I have said, mostly speaks in his own North Ger- 
 man dialect. His music is full of poetry and expres- 
 sion, but its beauty must always be considered with 
 regard to its surroundings. Before we take up his 
 compositions in drtail we may recall what was said 
 about Handel's style;* how that it moved in parts, 
 generally two or three, and of the limited kind of 
 technical figuration founded on violin music which he 
 
 * See Handel in this series. 
 
28 Conversations on the Pianoforte Classics. 
 
 generally used in addition to the vocal or contrapuntal 
 style. 
 
 With Each we shall hnd that he is more chained by 
 the bounds of counterpoint, and that, speaking gener- 
 ally, his style or technique is practically that of the 
 organ, for, as you know, Bach, before all, was an 
 organist, but it is also much bolder in technical style 
 than that of Handel, as you will hear later. 
 
 I propose by way of contrast to take movements 
 from the suites of Each similar to those already in- 
 stanced from Handel. 
 
 ■& <fe <4 
 
 I might say that the so-called French suites are evi- 
 The French dently written after the pattern of the 
 
 Suites. French composers, who at that time, through 
 the efforts of Couperin, Rameau and others, led the 
 way in this connection. 
 
 In going through the earlier or first four of these 
 French suites you will note the air of quiet, idyllic 
 resignation, almost of melancholy, which seems to per- 
 vade some of them. This probably is owing to the 
 influence of Couperin, whom Bach took as his model. 
 
 For comparison's sake, however, I shall take the 
 movements nearest in spirit to those of Handel, i.e., 
 those having a brighter, more melodious sweep about 
 them. For this purpose we will take an AUemande, 
 Courante, Gavotte and Gigue from the Fifth Suite 
 in G. 
 
 c^ <fe 4 
 
 The ever-moving yet dignified AUemande, the 
 
Bach (1685-1750). 29 
 
 brighter and more, spirited Courante, the tuneful 
 
 ^.,., „ .i Gavotte (and Each excels in his gfavottes 
 Fifth Suite , , , ^ , , ,. , 
 
 and bourrees) and the very lively Gigue 
 
 which Bach, in common with other composers, treated 
 
 as a fugue in three parts, you will find attractive. 
 
 You know that a fugue, which means flight, has 
 been defined as a composition which puts to flight all 
 but the performer. Well, here is an instance which 
 may have just the opposite effect, for while it is at- 
 tractive, even to uneducated listeners, it may make the 
 performer wish to take refuge in flight unless he has 
 practised it specially well. 
 
 Putting joking on one side, you will hear the entries 
 of the subject one after another at different intervals 
 of time and in different keys, but the spirit and move- 
 ment are so admirably kept up that the average listener 
 would probably never suspect its scientific mould. 
 4 4 <£ 
 
 The original dance form of the gigue is quite a 
 simple thing, but composers of suites evidently 
 thought, and rightly so, that it was possible to com- 
 bine both art and natural simplicity in one. 
 
 4 4 c& 
 
 Bach has obtained the reputatiori with the average 
 piarioforte student of being "dreadfully dry." I 
 How to Play must put this verdict down to several 
 
 Bach. causes, (i). The general inability on the 
 part of the average student to play Bach. The inter- 
 preter requires two right hands, so to speak, and the 
 
30 Conversatiotis on the 'Pianoforte Classics. 
 
 possession of a pure singing or cantabile tone as well ; 
 no mean possession you will say for any executant. 
 
 (2). The would-be lover of Bach must allow for 
 the period in which it was written. It is perfect of 
 its kind — but to appreciate the kind, we must not look, 
 for instance, for mere harmonic splashes of colouring, 
 as with compositions of to-day, but must look prin- 
 cipally for beauty of construction, i.e., for the hidden 
 melodies, so to speak, which lie below the surface-. 
 
 (3). Bach must be played with expression. He 
 himself put few marks of expression, it was not then 
 the custom — but modern editors (Germer, Riemann 
 and others) have supplied the want, and we should 
 certainly take them into consideration. We should 
 particularly look for that pathos as well as sincere 
 and poetic feeling which is such a marked character- 
 istic of Bach, and which has been perpetuated to some 
 extent by those modern composers who made a special 
 study of Bach, i.e., Mendelssohn, Schumann and 
 Brahms. 
 
 All composers have written music that is compara- 
 tively uninspired, and so I would ask the Bach student 
 to choose or select his movements. 
 
 «& cfe * 
 
 To resume. Of the French suites written more or 
 less in the style of Couperin, the fifth and sixth, which 
 
 Special probably belong to a later period, are the 
 Movements, best. It should also be said that these are 
 the least like Couperin's style. I take it that Bach 
 
Bach (idSs-iyjo). 31 
 
 took Couperin's dainty style as a model for the first 
 four and in the later fifth and sixth asserted more his 
 own more robust style and individuality. 
 
 The one in G, No. 5, comes nearest to the melodious 
 and brilliant style of Handel. There is a dainty 
 gigue in the fourth suite, a quaint Anglaise (an 
 English country dance in the gavotte style) from the 
 third, a graceful allemande from the second, and a 
 very pathetic and stately sarabande from the first, 
 which deserve special attention. 
 
 Bach wrote also several other suites and partitas, 
 including the so-called English suites. These latter 
 belong to the Leipzig period and were completed by 
 1726. 
 
 4 4 4 
 
 The English suites are built on bigger lines alto- 
 gether than the French suites and contain some of Bach's 
 The English '-'^^^ work. The additional preludes are con- 
 Suites (the siderably extended, and of those there are 
 Preludes), specially fine ones in the second and fourth 
 suites worthy to rank with the best of the preludes 
 to the "48." These preludes like all of Bach's 
 work are in free contrapuntal and imitative style. 
 Wherever florid counterpoint and imitation can be 
 effectively employed, Each is sure to use it. This 
 as you have heard occurs just as much in the old dance 
 forms as in the more indefinite preludes, etc. As an in- 
 stance of imitation you will note in the G minor prelude 
 from the third suite how the chords and the runs of the 
 
32 Conversations on the Pianoforte Classics. 
 
 first few bars are used over and over again in the dif- 
 ferent keys and different styles, until the whole com- 
 position is thoroughly homogeneous. The A minor 
 prelude from the second suite is in free imitative style 
 and is in three sections. The third is a repetition of 
 the first, which is somewhat of a fussy but also melo- 
 dious character. In the second section a new and 
 expressive theme is introduced. 
 
 Another thing that strikes us about the English suites 
 is the almost Handelian robustness and melody which 
 pervades most of them. There is less of the pensive 
 melancholy which pervades the French suites. The 
 bourrees as well as gavottes which they resemble, are 
 as usual specially attractive. 
 
 « <5 <fe 
 
 The sarabandes are melodious and expressive, and 
 those of the fourth and fifth suites are specially digni- 
 
 Other fied and pathetic. That in the fourth suite 
 Movements, is very charming in its way. The alle- 
 mande of the fourth suite is also very attractive. 
 
 Bach's gigues are always merry. The best in this 
 book is the last which is particularly roguish and wild, 
 and forms a good finish to the whole work. You see 
 that Bach can be jolly and lively, as well as pathetic 
 and full of expression, even if at times he is profoundly 
 learned and deep. 
 
 We have had suites in the poetical French style, and 
 the more robust and older English style. 
 
Bach (i68§-iy^o). 33 
 
 In the partitas or German suites, we have again 
 something of the characteristics of both. 
 
 « 4 <4 
 The latter work was originally part of the Klavier- 
 iibung (Klavier Study), one of the very few works pub- 
 The lished in Bach's life-time, and containing 
 Partitas, (i) Six Partitas; (2) A Concerto and a Par- 
 tita ; (3) Choral Preludes and four Duets ; and (4) The 
 Air with Thirty Variations. 
 
 Taking the partitas as a whole we are struck by the 
 wonderfully melodious character of the first set, and 
 the fresh and vigorous style of the first few movements 
 of the fourth and fifth sets. There are some unusual 
 movements in the second, third and fourth sets, the 
 others being of the later or more general type 
 4 4 4 
 The following notes of the various movements may 
 be of some help. Prelude, fresh and interesting. 
 Partita No. Allemande, grateful and melodious. Cour- 
 
 1 in B flat, ante, pleasant number, in legato gigue style. 
 Sarabande, very florid requiring marked rhythm. The 
 minuets are tuneful and straightforward, and the well- 
 known gigue with crossing of hands, is tricky and 
 
 playful. 
 
 4 4 4 
 
 The Sinfonia or overture has three movements, grave, 
 andante and a fugal finale. It is written in the grand 
 Partita No. manner, reflective in style and suggestive of 
 
 2 in C minor, masculine strength. The winding imitative 
 allemande and contemplative courante, very expres- 
 
 Bocft.— 3 
 
34 Conversations on the Pianoforte Classics. 
 
 sive sarabande and especially the whimsical leaping 
 staccato rondeau and capriccio deserve attention. 
 
 <s * « 
 
 The argumentative Fantasia is difficult to make effec- 
 tive and requires speed and contrast of touch. The 
 Partita No. Allemande is more pleasing. It requires a 
 SinAminor. reflective mood, and a neat but not too slow 
 execution. The halting rhythm of the Courante 
 requires strong marking but with a light touch. 
 The sweetly meditative Sarabande and the piquant 
 Burlesca and Scherzo requiring a leaping ani- 
 mated style and a sense of humour, are attractive. The 
 work closes with a lively fugal gigue. 
 
 The Ouverture is fresh, vigorous and tuneful, and of 
 a type familiar to us in the overtures of Handel. It is 
 Partita No. made up of organ-like Grave, and a quick 
 
 4 in D. light fugal movement. Melodious and very 
 expressive yet quaint is the Allemande, meditative and 
 wayward the Courante, but attractive. The Aria move- 
 ment is spun out of an old-fashioned, almost folk-song, 
 melody. The Sarabande with its dainty ornamental 
 manner grows on one with repetition, it requires an 
 expressive almost rubato interpretation. A tuneful 
 Minuet and particularly bold and original Gigue con- 
 clude the set. 
 
 This commences in brilliant style. The very melodi- 
 ous toccata-like Allegro is in virtuoso style with much 
 Partita No. quick crossing of the hands in scale passages 
 
 5iiiGr. as in the last measure of example. 
 
Bach (idS^-iy^o). 
 
 \ 
 
 35 
 
 "-S- 1" -S-"i"S"i r 
 
 •i 
 
 • T(- 
 
 ) 
 
 -*-m- 
 
 %^-A 
 
 »-i 
 
 IF . 
 
 R 
 
 Pi: 
 
 7^^-. 
 
 
 ^e: 
 
 R. 
 
 -v^- 
 
 _p^ 
 
 -if- 
 
 L. 
 
 TheAllemande is also a fine one — melodious and some- 
 what in gigue style. For the rest there are a straightfor- 
 ward Courante, in the staccato style, pathetic Sarabande 
 and graceful Minuetto movement, also using alternate 
 hands, a quaintly pretty Passepied (a kind of quick 
 minuet) and an energetic and masterly free double 
 fugue entitled a Gigue, but in which the dance element 
 is almost lost sight of. 
 
 4 "S 4 
 
 The Toccata commences well, but an argumentative 
 
 fugal episode causes loss of interest. An elaborate but 
 
 ^ ^.. „ sternly-attractive Allemande requires clear 
 Partita 6. , , . , ^ 
 
 rhythmical accentuation. The effect of the 
 
 quaint syncopated Courante, Air, Sarabande, Tempo di 
 
 Gavotto and unusual Gigue depends on the amount of 
 
36 Conversations on the Pianoforte Classics. 
 
 expression infused. The whimsical and bizarre char- 
 acter of this last group (except the Air) make one think 
 that Each intended them as studies in rhythm and 
 educational in style : they seem also to lack inspiration. 
 
 « cS <& 
 
 We come now to the well-known Italian concerto 
 which unlike the modern concertos is written without 
 Italian orchestra, and after the Italian model, i.e., 
 Concerto, with two quick movements with an interven- 
 ing slow one. Bach tries to get the effect of both 
 orchestra and solo piano on to the one keyboard, and 
 he makes different parts / and p in order to distinguish 
 solo and accompaniment parts. The first movement starts 
 off in cheerful fashion and is soon engaged in unravel- 
 ling little melodic arguments between various parts. 
 
 In the pathetic Andante the piano part is the accom- 
 paniment, and the forte part is after the style of a 
 violin solo, while the Presto commences in bustling 
 fashion and resumes as it were a similar discussion to 
 that in the first movement. 
 
 iS cfe <& 
 
 In Bach's time Italian music led the musical world, 
 and while he held his appointment in the beautiful 
 town of Weimar, he gave much attention to Italian 
 chamber music, nevertheless Italian influence is not, un- 
 like Handel, very much to be seen in his music. Even 
 in the Italian Concerto Bach soon gets immersed in the 
 close imitative contrapuntal dialogue which is charac- 
 
Bach (idSyij^o). 37 
 
 teristic of him in all his works. The German reflective, 
 philosophic and argumentative disposition is always to 
 the front. The Italian Concerto was written probably 
 soon after 1730. 
 
 « 4 4 
 
 While we are speaking of Italian influence and con- 
 certos, we may say that Bach was probably the first to 
 Bach's Ar- write artistic examples of what are called 
 rangements. " arrangements." To show what I mean, 
 Bach took twenty of the violin concertos of Vivaldi, 
 then a celebrated Italian composer, and rearranged six- 
 teen of them for the clavichord and four for the organ. 
 This rearranging consisted of altering the melodies 
 and rhythms and adding also inner parts and orna- 
 mentation and filling up the harmonies. Another ad- 
 ditional one he arranged as a colossal concerto for 
 four solo keyboard instruments with the accompani- 
 ment of a quartet of strings. 
 
 ■S "6 4 
 
 Besides this monster arranged concerto, Bach wrote 
 also very fine similar but original works, three for two 
 
 Bach's harpsichords or clavichords, two for three 
 Concertos solo keyboard instruments, and six for 
 solo clavichord, all with stringed orchestra {j.e., string 
 quartet and double-bass). 
 
 It should be mentioned here that Bach's concertos, 
 like others of the same period, were somewhat in the 
 style of chamber music. The modern concerto is in 
 
 Bach. — 4 
 
38 Conversations on the Pianoforte Classics. 
 
 modified sonata form and has a very important solo 
 part with accompaniment for full orchestra. 
 
 The style of the old concertos was that of the suite 
 or the old sonatas and overtures of that time. 
 
 The number and style of the movements vary much, 
 while the writing is in two or three imitative parts, 
 and lacks independence in the solo part. 
 
 ■S <& * 
 In Bach's D major Concerto for one klavier and 
 strings (Steingraber Ed., No. 98) a most tuneful and 
 D major interesting work and well worthy of per- 
 Concerto. formance, there are three movements: (i). 
 A bright and tuneful Allegro in | time developed in 
 imitative style and not unlike an Allemande. (2). An 
 interesting and very expressive Larghetto in B minor 
 I) time) and (3). A merry and melodious Gigue move- 
 ment in I {%) time, worked out in the usual fugal style. 
 The string quartet portion is heard alone in the in- 
 troductory and interlude portions, but the solo klavier 
 is only heard alone in one part of the first movement. 
 In this part, however, there is a well-marked Cadenza 
 section. 
 
 The string quartet portion can be played on a 
 second piano, or better, on an American organ. Of 
 the other concertos for one klavier and strings, the 
 D minor is technically interesting, while the F minor 
 is specially melodious. 
 
 « <& cfe 
 
 The great Concerto in D Minor for three klaviers 
 
Bach (1685-1750). 39 
 
 and strings was on one momentous occasion performed 
 Triple Con ^" London by the eminent composers and 
 certo in D performers, Mendelssohn, Thalberg and 
 
 minor. Moscheles, and since that time has been 
 several times revived. 
 
 This work alone is a sufficient monument to Bach's 
 unequalled power as a contrapuntist. Probably com- 
 posed about 1730, and played by Bach's sons at the 
 University of Leipzig Concerts, the work was hrst pub- 
 lished by Griepenkerl in 1845. 
 
 The latter in his preface gives, in effect, the follow- 
 ing instructions which were probably handed down 
 through Bach's son, Friedemann, and Forkel, the 
 master's pupil, who had it performed in 1806 from the 
 manuscript. 
 
 <fe cfe <fe 
 
 "The executants of this concerto should remember 
 that thumping and loudness is not the true interpreta- 
 Instructions^^^'^ °^ ^^^ work, for the composer was a 
 
 for Per- true poet, as much as a great contrapun- 
 formance. ^[^^ 'Yh.e old clavier virtuosi wanted the 
 instruments to sing and not to groan in the hands of 
 the players. 
 
 "The music should, therefore, be played with abso- 
 lute neatness and delicacy, in strict time and in a sing- 
 ing style, without any assistance of the pedal. The 
 accompaniment of the strings should not be too promin- 
 ent, and should always take the subordinate part in 
 the rendering of this glorious masterpiece." 
 
40 Conversations on the Pianoforte Classics. 
 
 The movements consists of : ( i ) An Allegro Maestoso, 
 a slow pastoral movement entitled Alia Siciliana; and 
 (■3) An Allegro. The bold | time subject starts off in 
 unison thus : 
 
 P-=1- 
 
 S^l-^^=tp 
 
 -^« 
 
 The contrapuntal passages are heard in imitation pass- 
 ing from one soloist to the other, the strings doubling 
 them here and there. 
 
 Sometimes the three soloists are each weaving more 
 or less equal contrapuntal parts with detached chords 
 in the strings, or the first piano may have a florid solo 
 part with strings accompaniment. In the following 
 example the second and third pianos take a theme in 
 canon or imitation while the first piano has florid pas- 
 sage work and the strings detached chords in 
 accompaniment. 
 
^\mi 
 
 Bach (idS^-iy^o). 
 
 Bach. Triple Concerto in D minor. 
 I l« 
 
 41 
 
 E% 
 
 
 V T 
 
 ■I 1 
 
 .U- 
 
 • ^ 
 
 :»;Cj:^z 
 
 ^ ^^~ 
 
 ^=^ 
 
 1: 
 
 
 
 ^^^ 
 
 
 ^ElHtJ 
 
 £^=I.C=I 
 
 s^i^l 
 
 ■ — t I — 
 
 p -, 
 
 ^i^s^^e 
 
 5i5_ 
 
 ia^ElTlflS 
 
 
42 Conversations on the Pianoforte Classics. 
 
 I 
 1 
 
 I 
 
 I 
 
 E^^^EE?^: 
 
 
 teE- 
 
 
 m^^^Mm 
 
 zpz 
 
 %-- 
 
 mmmm\ 
 
 x= F — piz:p= :p;^g 
 
 For advanced students the study of the full score 
 might form an invaluable lesson in instrumentai 
 counterpoint. 
 
 ■4 « 4 
 The Alia Siciliana in f time (key of F) is an engag- 
 ing movement with its quaint rhythm and artless air 
 
Bach (1685-1^50). 
 
 43 
 
 Each part of the two-fold air is treated in variation 
 form on the first piano. In the tutti passages you will 
 note that the three keyboards double each other. 
 
 The final Allegro is a lively fugue in quasi-gavotte 
 rhythm and the movement is infused throughout with 
 a happy and joyful spirit. 
 
 Allegro. 
 
 ii^"eifi^i^^ 
 
 The successive entries of the fugal theme in the second, 
 first and third pianos are doubled also in the strings. 
 An interesting episode for 'cello solo has an accompani- 
 ment for first piano and later for second piano. Further 
 on we notice a Stretto for first and second pianos, and 
 later for second and third pianos with an intervening 
 very melodious section for all concerned in F major. 
 
 The student must hear and analyse this wonderful work 
 
 for himself to understand and appreciate it as he should. 
 
 * « 4 
 
 The other concerto for three klaviers, in C major, 
 
 save a pathetic Adagio in A minor, is quite in merry 
 
 Triple Con- niood. The three solo instruments enter in 
 
 certo in C. unison with the following bold theme, more 
 
44 Conversations on the Pianoforte Classics. 
 
 or less elaborately accompanied by the strings: 
 
 Allegro. 
 
 \ 
 
 l^^ii^^pi^ 
 
 The fine bold and melodious Concerto in C for two 
 klaviers (see principal theme below) reminds one of 
 
 Allegro moderato. 
 
 4 
 
 n 
 
 (« 1 
 
 ■3 ) 
 
 -^-» 1 ^—3 - ^ f-* ^^''^ 1/ 
 
 m 
 
 m 
 
 
 fe^fe 
 
 -\^—j~m-~'-'-—m-^- r- 
 
 mis=Mf^^m 
 
 P^gltll 
 
 P-i3- 
 
 smm 
 
 
 
 
Bach (idS^-i-j^o). 
 
 45 
 
 ^f 
 
 — F- 
 
 ^1 
 
 m^. 
 
 ~^i 
 
 Ej^ife 
 
 m^E:^-- 
 
 
 the virile style of his best organ works. The Adagio, 
 curiously enough, has no accompaniment, but consists 
 of a duet for two cembali. The final movement is a 
 fugue in which the first piano has the exposition. 
 
 The C minor Concerto for two claviers is also fresh 
 and interesting, and what strikes one forcibly about 
 these works is their engaging rhythmical style, so at 
 variance with the popular idea of Each. 
 
 ■fe * ■& 
 
 We now turn to some earlier compositions which 
 
46 Conversations on the Pianoforte Classics. 
 
 were written while at Anhalt Cothen and published in 
 The 1722 1722. These collections comprised the 
 Collection. French suites of which we have spoken, 
 also the inventions, symphonies and the first part of 
 the immortal Forty-eight Preludes and Fugues. 
 
 c^ c& <fe 
 
 The Two and Three Part Inventions and Sym- 
 phonies Bach commends to the amateur "who is 
 The anxious to learn," "that he may not only 
 Inventions, learn to play properly in two parts, but 
 also with further progress to perform well in three," " and 
 above all to obtain a good cantabile style in execution." 
 
 Most of us know something about the so-called 
 "Inventions" (the word is used as meaning small 
 pieces thrown off or improvised as it were) as well as 
 the " Preludes " usually associated with them. There 
 is no doubt they are, along with the special cultivation 
 of the left hand, invaluable for educational purposes 
 as preparing the way for Bach's greater works. I 
 would ask you, however, not to look on the educational 
 side only. From an artistic point of view, the Pre- 
 ludes and Inventions are not all equally good or inter- 
 esting, but some of them deserve special mention. 
 
 Taking the preludes first we have the tuneful No. 
 
 7 in C, sympathetic No. 9 in D, the manly, bright and 
 
 The melodious No. 12 in F and No. 15 in D 
 
 Preludes, which carries on an interesting dialogue 
 
 throughout. 
 
 Of the two-part Inventions there are the plaintive 
 
Bach (1685-1^50). it? 
 
 and expressive No. 4 in E minor, the next, No. 5 in F, 
 is quite merry, what we would really now call a 
 Humoresk, or a kind of musical joke. 
 
 In the three-part Inventions we have the pathetic E 
 minor. No. 3, a quiet poetic one in G minor, No. 4. No. 
 5 is daintily reflective, No. 10 in F, cheerful and ener- 
 getic, while No. 14, the quaintly beautiful, in A minor, 
 is founded on a folk-song-like melody. 
 
 I think if you analyse these numbers, carefully 
 watching the left hand melodies, and putting in the 
 utmost expression, they will grow on you more and 
 more as masterpieces of their kind, and that you will 
 find them charming and interesting. 
 
 Short In the Germer collection are seven short 
 
 Jugues. fugues for which the "Inventions" prepare 
 tke way. Of these No. i in C and No. 7 in A minor, 
 are specially good. 
 
 This leads me to mention that in the original collec- 
 tion of "Inventions," etc., of 1722, appeared also the 
 first part of the immortal Forty-eight Preludes and 
 Fugues, but of this later. 
 
 The next collection of Bach's works called the 
 
 Clavier Exercise Book, and composed between 1731 and 
 
 „, ,„, . 1742, contained six partitas or suites with 
 The "Clavier '^ ' ,., , 
 
 Uebung" additional movements like those of Handel, 
 
 Collection, and in which there is a well-known Gigue 
 in B flat (Bellairs 13) notable for the virtuoso-like 
 
48 Conversations on the Pianoforte Classics. 
 
 crossing of the hands. These, with the Italian Con- 
 certo from the same work, have ah-eady been referred to. 
 
 The wonderful " Goldberg Variations,'' composed for 
 
 Bach's his pupil, J. T. Goldberg, an eminent 
 Variations, executant, in which every third variation is 
 in the form of a canon, also form part of the same. 
 
 These latter, known otherwise as the "Thirty Varia- 
 tions on an Aria," constitute one of the classics of the 
 variation form, and despite their wonderful learning, 
 are interesting and attractive and increase in intellectual 
 interest throughout. 
 
 Several of the variations are for two claviers. 
 
 Variation 29 is in interlocking chords and No. 30 is 
 
 a "Quodlibet" and formed of snatches from popular 
 
 airs. 
 
 <fe <fe « 
 
 In Vol. V of the " Gesammtausgabe " are a tuneful 
 sarabande with sixteen variations {i.e., "con Partite"), 
 another notable instance of the variation form — three 
 of the numbers being in old dance style (AUemande, 
 Courante and Gigue) — as well as an equally interesting 
 and similar Passacaglia in D minor having twenty 
 variations. 
 
 In Vol. IV of the same edition are also some light 
 and taking variations in A minor, and described as 
 being "in the Italian style." 
 
 * "S 4 
 
 We can now go on to a quaint piece of programme 
 music entitled "Capriccio on the Departure of a 
 
Bach (1685-1750). 49 
 
 Brother," which depicts the pleading of friends, as it 
 puts it, "to remain with us" and "the dangers of 
 foreign lands." I would refer you to the movement 
 A entitled " Sorrow and Regret " and the final 
 Programme merry fugue which is built up on the notes 
 Capriccio. played by the postilion's horn as his brother 
 posts away In the latter you will hear the horn part in 
 the different higher and lower parts successively. 
 
 We must now consider the very important Toccatas. 
 In these and the Fantasia in C minor and the Chro- 
 matic Fantasia, we discern the bold, sweeping style of 
 Bach's organ Toccatas, in fact, organ style is all 
 through more or less noticeable. 
 
 The Toccatas usually begin with a bold, declamatory 
 fantasia display, followed by a sympathetic slow 
 The movement and later by a spirited fugue. Of 
 Toccatas, the seven toccatas those in G, D minor and 
 D major (the latter also called fantasia and fugue) are 
 particularly fresh and attractive. The D minor, by- 
 the-bye, contains an additional separate adagio and 
 fugue. 
 
 I would ask you to play two representative sections 
 from the D major Toccata, i.e., the recitative portion 
 and a very spirited allegro in fugal style. These are 
 followed by a very expressive adagio and a very merry 
 gigue in form of a fugue. You see that writing a 
 fugue, a difficult accomplishment for most composers, 
 was an everyday proceeding with Bach. His best, most 
 
50 Conversations on the Pianoforte Classics. 
 
 natural and spirited compositions are more or less in 
 that style. 
 
 Before leaving the toccatas, I would point out the 
 Lento in the D minor Toccata, which, for depth of 
 feeling and expression, would almost seem to anticipate 
 Beethoven. 
 
 * 4 "4 
 
 You will notice the specially bold arpeggio character 
 of the well-known Fantasia in C minor, which I would 
 specially recommend for practice. Most of you have 
 heard of the Chromatic Fantasia, a most notable work, 
 both for its chromatic harmony and for the free style 
 of its technique. To describe it : 
 
 We have first a brilliant skirmish or passage work 
 leading up to an aspiring theme clothed in a succession 
 ipijg of arpeggiando chords, mostly of languish- 
 Chromatic ing diminished sevenths. A succession of 
 Fantasia, declamatory but pathetic recitative pas- 
 sages alternates with and follows on the theme in such a 
 manner as to suggest a dramatic story without words. 
 Regarding the manner of arpeggioing the chords in the 
 Chromatic Fantasia, Mendelssohn says : " I take the 
 liberty to play them with every possible crescendo and 
 piano and if with pedal as a matter of course, and the 
 bass doubled as well — each chord is broken twice, and 
 later on only once, as it happens." 
 
 An indication is given at the beginning like this, and 
 the rest is a matter of taste. It is an open question, 
 however, if Mendelssohn did not go beyond the com- 
 
Bach (1685-iyijo). 51 
 
 poser's intention. We have spoken of fugues gener- 
 ally. One should not forget the brilliant Recital 
 Fugue in A minor, and to which- the Bach student 
 should, sooner or later, turn his attention. 
 
 4 -^ 4 
 This leads me to the mention of the Forty-eight Pre- 
 ludes and Fugues, the " Musicians' Bible " as it has been 
 called. Hauptmann, the critic and theorist, spoke of it 
 thus : " Compared with that grand work, all others seem 
 small. Its wondrous riches of combination have never 
 been questioned and the depth of expression is equally 
 masterly." Schumann spoke of the work as " Musi- 
 cians' Daily Bread," and it has formed the subject of 
 deep study of all the eminent composers from Mozart 
 and Beethoven downwards. To adequately illustrate 
 the "Forty-eight" and the wonderful "Art of Fugue" 
 would require a lecture in itself, but I may say that 
 the student who has carefully studied the principal 
 works we have mentioned, will enjoy these monumental 
 works. The student will meantime find help on the 
 subject in monographs of the " Forty- eight " by Rie- 
 mann (Augener), and Iliffe (Novello).* 
 
 The original title, "Well Tempered Clavier," was 
 doubtless intended as a kind of practical argument in 
 favour of the "equal temperament" system of tuning 
 — now universal. 
 
 * Riemann, "Analysis of the Forty-eight Preludes and 
 Fugues." 3 vols. (Augener), 2S. 6d each. Iliffe, " Bach's Forty- 
 eight Preludes and Fugues Analysed.' Bound 4s. (Novello). 
 
52 Conversations on the Pianoforte Classics. 
 
 Bach's "Art of Fugue," composed in 1749, the last 
 year of his life, and published by his son, Carl Philip, 
 The Art of in 1752, is an attempt to show by example 
 
 Fugue. the possible manifold development of one 
 subject theme. 
 
 On this one theme 
 
 
 Bach gives fi.fteen fugues* and four canons for solo 
 clavichord, and tv/o fugues for two clavichords. 
 
 In this work are also three other fugues on other 
 subjects, one being on his own name in German 
 notation. 
 
 BACH 
 
 rr*)-; 
 
 The Peters edition of the work contains also the King's 
 Theme (Thema Regium) and a six-part Ricercar or 
 fugue from the " Musical Offering " developed on the 
 theme given to him by Frederick the Great. (This was 
 on old Bach's visit to him in 1747.) Bach's Latin 
 dedication curiously contained in its initials the word 
 " Ricercar " : " Regis lussi Cantio Et Reliqua Canonica 
 Arte Resoluta." (The theme requested by the king 
 with other things by f ugal art developed.) 
 
 * The Breitkopf " Gesammtausgabe " has these in open 
 score. 
 
Bach (1685-1750). 53 
 
 Some miscellaneous compositions which are specially 
 noteworthy may be referred to here. Of these from 
 
 Miscel- ^°'' ■'■^ °^ ^^^ " Gesammtausgabe " there 
 laneousCom- are — No. i, a virile Suite in the favourite 
 positions, key of A minor, 
 
 M-TES--^^ 
 
 ^^^i 
 
 a long and interesting Prelude and Fugue, No. 13, 
 also in A minor : 
 
 
 a technically interesting Preludium (Fantasia) also in 
 A minor : 
 
 two Fugues in C, beginning : 
 
 an 
 
 d one in D minor, thus : 
 
54 Conversations- on the Pianoforte Classics. 
 
 In Vol. V of the same edition there are a Prelude 
 in A minor, beginning in toccata style : 
 
 s 
 
 i 
 
 i33^^s 
 
 ^^P=fe 
 
 also the Fantasia in G minor, with arpeggiando pas- 
 sages : 
 
 ::^i 
 
 
 a piquant Fugue in A minor, beginning : 
 
 g,,^ u.t B & i^^^M 
 
 a short, florid Prelude in B minor ; 
 
 ^313 
 
 ^^ 
 
 and an Echo in B flat, in which melodious forte phrases 
 are echoed piano : 
 
Bach ( 1685-1"/ ^o). ec 
 
 s 
 \ 
 
 ^mfMd. 
 
 To sum up the music cf Handel and Bach, we might 
 say, that generally speaking, Handel's music, in con- 
 sequence of Italian influence, is dramatic, open and 
 straightforward. Broad Italian melody with its regu- 
 lar rhythmical periods and a tendency to the brilliant 
 or striking, characterise his music. As regards the 
 Handel and ^^''.ntity written for the harpsichord or 
 Bach's clavichord, Handel's work is comparatively 
 Works small. Bach's clavichord music shows, as you 
 Contrasted. ^^^^ heard, both the bold and energetic, and 
 the deeply expressive and sympathetic, but it is also 
 more reflective in tone and not so easily grasped. Bach 
 extended the technique of the keyboard, his figuration is 
 more varied, and he did much also towards bringing 
 about modern fingering, just as in writing his "Forty- 
 eight" for the "well tempered (or equally tempered) 
 clavichord " he favoured and helped the modern tuning 
 of the piano in what is called "equal temperament." 
 In conclusion, as I said at first, the music of Bach and 
 Handel is appropriate to the age of wigs and perukes. 
 It has the virtues and failings of that timp.. Form- 
 ality, as evidenced by polyphonic structure, is much to 
 
56 Conversations on the Pianforte Classics. 
 
 the front, but when we look below the surface there is 
 much that is human in all its various moods, whilst 
 the melody of Handel and the advanced harmony of 
 Bach, and the works of both, with their wonderful 
 control of the many-voiced, ever-flowing contrapuntal 
 wave of music, will always interest the student, who 
 wishes to know what is best in all forms of musical art. 
 . By way of postscript the student who wishes to study 
 the music of this period, might begin with the Handel 
 " Easy Pieces," edited by Biilow (in Augener's edition), 
 going on to the pieces specially mentioned. 
 
 Apart from this scheme the educational collections 
 in this style by Bellairs (Ashdown) and Germer (Bos- 
 worth) are valuable. 
 
 Reinecke's somewhat free edition of Handel's works 
 is interesting. 
 
 d^ ^ ^ 
 
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Bach (idSs-ij^o). 57 
 
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58 Conversations on the Pianoforte Classics. 
 
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 (19), C (20), C minor (21), 
 
Bach (1685-iyso). 59 
 
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HOW TO STUDY THE 
 PIANOFORTE WORKS OF 
 
 DOMENICO SCARLATTI 
 
 BY 
 
 HERBERT WESTERBY 
 
 MUS.BAC, F.R.C.O., L.M.T.C.L. 
 
 WITH MUSIC EXAMPLES 
 
 London : 
 V/ILLIAM REEVES, 83 Charing Cross Road, W.C. 
 

 UNIFORM WITH 
 
 THIS BOOK. 
 
 
 Each published sepamtely. 
 
 HOW TO STUDY THE PIANOFORTE 
 
 
 WORKS 
 
 OF 
 
 I. 
 
 Handel. 5. 
 
 Mozart. 
 
 2. 
 
 Bach-. 6 
 
 Clementi. 
 
 3- 
 
 DoM. Scarlatti. 7. 
 
 Beethoven. 
 
 4- 
 
 Emanuel Bach and 
 
 Haydn. 
 
INTRODUCTION. 
 
 "T^HE present work is intended for the average 
 * moderately advanced pianoforte pupil who wishes 
 to go beyond the dips into the classics made during 
 the course of instruction and to learn to know some- 
 thing of the best pianoforte literature as a whole. 
 
 To do this it is necessary to build a foundation on 
 the classics and proceed later, in historic order with the 
 Romantics, and the more modern national schools of 
 thought. 
 
 No proper idea of pianoforte literature can be gained 
 unless the historic trend of the various compositions is 
 kept in view; and this, it may be said, has been the 
 author's principal aim throughout. For the same 
 reason only those principal composers are chosen who 
 are in the direct line of progress. 
 
 Space was not forthcoming for complete biographies 
 of the masters concerned, but the student is directed 
 to the introductory list of books appended to each 
 chapter, as well as to the various principal editions 
 recommended. From these the reader can select any 
 
iv Introduction. 
 
 necessary additions to that library which every amateur 
 and professional student should aim at forming. As 
 regards the interpretation of Beethoven's sonatas, an 
 attempt has been made to draw a middle line between 
 the flowery interpretations of Elterlein and the formal 
 analyses of the academic texts. For the rest it may be 
 said that it is very necessary for the student to consult 
 and play over the works described in conjunction with 
 the book itself, if he or she is to understand and enjoy 
 the many beauties present in them. 
 
 That this little work may be found a practical and 
 reliable guide is the earnest wish of the author. 
 
CHAPTER III. 
 
 DOMENICO SCARLATTI 
 (1683-1757). 
 
 ILLUSTRATIVE PROGRAMME. 
 Barth Edition (Universal Edition). 
 
 Sonata No. 2, in A (Fairy Capriccio). 
 
 „ „ 10 „ D minor (Pastorale). 
 
 
 , „ /J „ G (Fantasia). 
 
 
 „ 17 „ D (The Chase). 
 
 
 , „ 21 „ A (Toccata Brilliante). 
 
 
 , „ J/ „ C (Harlequin). 
 
 
 , „ 57 „ C (Pierrot and Columbine) 
 
 
 „ 48 „ G (The Gazelle ). 
 
 
 „ 64 „ F (Military). 
 
CHAPTER III. 
 
 DoMENico Scarlatti (1683-1757.) 
 
 IN our last chapter we dealt with the polyphonic or 
 many-voiced music of Handel and Bach, as written 
 for those forerunners of the pianoforte, the harp- 
 sichord and the clavichord. These two composers, 
 Handel and Each are not only the leading lights, and 
 the climax as it were, of the polyphonic period of 
 musical development, but they are also as they have 
 been described, the "corner-stones" of modern music. 
 This last description applies, however, only to music 
 generally. 
 
 There are six standards by which we may judge any 
 particular branch of composition, as, for instance, that 
 Standa ds o^ pianoforte music, and these are in order: 
 of Com- (i) its melody; (2) its harmony; (3) its 
 position, technique for purposes of execution; (4) its 
 form; (5) its general texture, i.e., polyphonic, mono- 
 phonic, etc. ; (6) its general style, classic, romantic, etc. 
 By way of illustration, we may say that Handel sur- 
 
 62 
 
Domenico Scarlatti (1683-ij^y). 63 
 
 passed in his day in melody, and Bach in harmony, 
 but that the appropriate technique or keyboard execu- 
 tion as shown in their compositions, and the develop- 
 ment of what we call musical form was with them 
 practically in an early or rudimentary stage only. 
 Further, the musical texture of their compositions was 
 polyphonic and in style what we would term " classic." 
 Before we proceed, however, you will recognise that it 
 is necessary to define what we mean by "form" and 
 " technique." 
 
 As to form, or the architecture of music, we need 
 only remind you that all branches of art follow cer- 
 tain designs or rules of structure. It is as 
 
 orman necessary to define which is the principal 
 and second or subordinate melody in a 
 composition as it is to define the two heads of a sermon 
 or discourse, or the foreground and the background of 
 a picture, and as necessary to make all the fragments 
 of a composition fit or "go" with each other as it is 
 that the windows or towers or pinnacles of a cathedral 
 should harmonise with the whole. 
 
 The necessity of appropriate technique for any in- 
 strument is also obvious. The style of execution or 
 musical figuration which suits one instrument will 
 naturally not suit another, that is if we wish to bring 
 out all its best effects. 
 
 Hence when we remember that Handel and Bach 
 wrote in the polyphonic or many-voiced style, one that 
 originated with a chorus of voices, or with the ponder- 
 
64 Conversations on the Pianoforte Classics. 
 
 ous organ, we know that their compositions are not 
 naturally best suited to the evanescent tone of the 
 pianoforte, and still less to its predecessors, the harp- 
 sichord and clavichord, for which they were originally 
 written. 
 
 Bach's clavichord compositions, as I have said before, 
 show the influence of the organ, while those of Handel 
 also are in the polyphonic style of the day, but are 
 enlightened with Italian melody. 
 
 * tfe <s 
 
 The significance, therefore, of the association of the 
 
 names, Dom. Scarlatti, Em. Bach and Haydn, in the 
 
 present and following chapters lies in the 
 ContrsLsts ^ r 
 
 fact that the first laid the foundation for 
 
 appropriate keyboard technique and the second and 
 third furthered the building up of musical form. These 
 three form as it were, the first part in a transition period 
 in the history of pianoforte music. The first or tech- 
 nical part of this transition period has its root in the 
 polyphonic period, for it begins with Domenico Scar- 
 latti, who was born some two years before Handel 
 and Bach. The second part is represented by 
 Clementi, Mozart and Beethoven, who not only 
 improved technique, but perfected musical form as well. 
 It is interesting to note, therefore, that while Handel 
 and Bach were perfecting the polyphonic style, Scar- 
 latti was at the same time not only initiating the 
 
Domenico Scarlatti (idSj-iy^f). 65 
 
 monophonic style, but also furthering the new and 
 appropriate style of technique. 
 
 « 4 4 
 
 In Scarlatti's lifetime musical Italy was specially 
 devoted to the violin. Italy did not and has never 
 excelled with the organ like Germany, hence it is natural 
 enough that it is in Italy we get the first true harpsi- 
 chord style as a whole. To get the true origin of this 
 style, however, we must go back to the old Elizabethan 
 composers whose daring feats in their harpsichord or 
 spinet compositions even now astonish us. 
 
 4 4 =fe 
 
 Turning back to Italy we find a predecessor of Scar- 
 latti, one Bernardo Pasquini, born 1637, who had also in 
 toccatas and partitas shown considerable 
 ^^'^^f^*^'* emancipation from the polyphonic or con- 
 trapuntal style, and much freedom m runs 
 and broken chord passages, and this at a time when 
 Handel and Bach were as yet boys. It will be remem- 
 bered that Handel when twenty-one years of age went 
 to Italy, and while there he met Domenico Scarlatti (in 
 1707), who already was recognised as the greatest 
 executant of his time. 
 
 Cardinal Ottoboni arranged a competition between 
 the two, and while the palm for harpsichord playing 
 
 Scarlatti— % 
 
66 Conversations on the Pianoforte Classics. 
 
 lay undecided; that for organ playing was awarded 
 to Handel. 
 
 On a later occasion at a masked ball an unknown 
 player seated himself at the harpsichord and began to 
 play. Scarlatti, coming in, recognised the masterly 
 touch, and exclaimed : " It is either the Saxon or " — to 
 paraphrase the term — "his satanic majesty." Needless 
 to say, it v/^s Handel. After this, it was said that the 
 Italian woull cross himself whenever the German 
 Handel's name was mentioned in his presence. No 
 jealousy arose, however, and the two composers became 
 fast frieads. 
 
 ci * cfe 
 
 In 1719, Scarlatti, interesting to relate, became con- 
 ductor at the harpsichord at the Italian Opera in 
 Scarlatti's London, and after a subsequent stay in 
 Composi- Lisbon and Naples, settled down in the 
 tions. service of the court at Madrid, where he 
 wrote much of his work. By the way we must not 
 forget that nearly all notable composers of that time 
 were associated with courts of various princes or 
 potentates. The noteworthy points of Scarlatti's com- 
 positions which are said to number some five hundred 
 are: (i) they are nearly all in one movement; (2) they 
 are in monophonic or purely harmonic style, and 
 practically free on the whole from the polyphonic or 
 contrapuntal style; (3) they are distinguished for their 
 freedom of technique. 
 
Domenico Scarlatti (i68j-iJ5'/). 67 
 
 Originally named exercises or studies these com- 
 positions came to be termed " sonatas," i.e., with the old 
 meaning of pieces to be played, not sung. They 
 contain pleasing melody and rhythm, and graceful 
 ornamental passages, while the technical feats are 
 represented by the crossing of the hands, wide leaps, 
 quick runs in thirds and sixths, repeated notes, etc., all 
 more or less new at that time. 
 
 They are not always easy to play, but some move- 
 ments are quite grateful even to modern audiences, 
 though being mostly written in two parts, they are 
 always somewhat thin in style. 
 
 ■fe ■£ 4 
 
 You will remember that Handel and Bach's com- 
 positions are mostly either in fugal style or in the old 
 dance form. Scarlatti, as I have said, was 
 car^a i as ^^jj^Qg^ j-j^g £j.g^ ^q break away from these 
 a Virtuoso. 
 
 styles. He was the great virtuoso, the 
 
 Liszt or Paderewski of his day, and while he showed 
 comparatively little idea of how to develop his themes 
 and make the most of them, he certainly supplied the 
 foundation of modern execution. On the other hand 
 the architectural portion in the evolution of what is 
 best in pianoforte music was carried out by Scarlatti's 
 successors, Em. Bach and Haydn. The new style of 
 the Italian Scarlatti, however, forms a refreshing con- 
 trast after the linked and finely woven style of Handel 
 and Bach. Besides this it has quite an individuality 
 
68 Conversations on the Pianoforte Classics. 
 
 of its own. Italy has always been noted for its 
 melody and Germany for its harmonies and structural 
 excellence. In Leigh Hunt's words we have " melody's 
 heart and the rich brain of harmony" contrasted in 
 the Italian and German styles. 
 
 In Scarlatti's best works, besides melodiousness, a 
 delightful piquancy, an electric spark-like vivacity also 
 appears which we&nd little of in the German composers. 
 
 Take, for instance, the dainty staccato, No. 2, from 
 
 No 2. Allegro vivace. Earth rollcclion. 
 
 the recent Earth collection (Universal Edition) which 
 contains some seventy selected numbers. This number, 
 though (like one or two others) more difficult than 
 effective, seems to forecast, in spirit, the fairy-like 
 capriccios of Mendelssohn. The tricky and playful 
 No. 5 — playing at hide and seek, as it were, is 
 notable for its chromatic progressions and arpeggios 
 of diminished sevenths. Some of the numbers rather 
 approach Handel's style, though there is little imita- 
 tion work as a rule in Scarlatti. 
 
 As regards development of ideas Scarlatti is some- 
 what deficient, and he is usually content with simple 
 repetition of some passage, either at the same pitch or 
 at a distance in sequence form. 
 
Domenico Scarlatti (idSj-iy^y). 6g 
 
 No. 8 in A minor is notable for its staccato sixths 
 and double octave leaping notes in the bass. 
 
 No 8. Ailegro vivace. 
 
 ■-*^ 
 
 ^^zr 
 
 Lft: 
 
 fed! 
 
 
 -*-±=d= 
 
 m 
 
 No. lo. The quaint and leisurely No. lo "Pas- 
 torale" as it has been termed by Biilow, is in the key 
 of D minor. It has been transposed into E minor by 
 Tausig for concert purposes, with, however, several 
 unwarrantable additions. 
 
 No. 10. Pastorale. Allegro moderalo. 
 
 
 
 ;i 
 
 M.-— 
 
 1-—-: ^— — ^ — J. 
 
 m 
 
 ^^ 
 
70 Conversations on the Pianoforte Classics. 
 
 No. 13. The bold and dashing arpeggios of No. 13 
 in G and No. 20 in C minor, remind us at once of the 
 exceptional D minor Prelude of Handel, and the C 
 minor Fantasia of Bach, as described in a previous 
 chapter. One wonders if these German composers in 
 their study of Italian music saw these compositions of 
 Scarlatti, who was extremely popular in his day. 
 
 No. 13. Vivace. 
 
 
 V!f 
 
 ^^mmm^. 
 
 i^n^ 
 
 
 m^ 
 
 No. 15, again, gives us a strange forecast of those 
 rhythmical chromatic appoggiaturas specially charac- 
 teristic of Weber's music a century later. 
 
Domenico Scarlatti (idS^-iy^y). 71 
 
 In the light Staccato No. 16, in F (G 4),* we have an 
 example of Scarlatti's frequent device of interlocking 
 repeated notes — one which appears occasionally also 
 
 i 
 
 1 
 
 No. 16. Presto. 
 R 
 
 
 
 =ip^ 
 
 
 Also 
 
 m 
 
 !1: 
 
 
 riS- 
 
 ^^^m 
 
 in Bach. The violin-like phrasing which we notice in 
 No. 17, in F minor, reminds us of the strong influence 
 of the violin composers of that era. 
 
 No. 18. Capriccio. Presto. 
 
 1 
 
 I 
 
 I n 
 
 ^^mmi 
 
 i-J: 
 
 if 
 
 lai^iiiii^i^-iii 
 
 =■= G 4 indicates No in the German Edition. 
 
72 Conversations on the Pianoforte Classics. 
 
 The popular No. i8 in E, has been termed a 
 " capriccio " and in this we have the fairy element again, 
 reminding us of Mendelssohn's typical "Midsummer 
 Night's Dream '' music. 
 
 Ex. 19, "The Chase." No. 19 we would name "The 
 Chase." Among its new features of execution are the 
 
 No. 19. The Chase. Presto. 
 
 .-■i J---T-Z— H— ^ - .r-2 — -— ,= 
 
 stmpn staccato c Ueg. 
 
 ii=i-pi 
 
 (n<. poea) 
 
 rampant full chords, Thalbergian repeated notes and 
 leaping octaves. You will notice also the lively crossing 
 of hands. 
 
 « <s <s 
 
 The next to command attention is No. 21 in A, 
 which from its virtuoso interlocking notes, swift flashing 
 No. 21, scales and passages of double thirds and 
 Toccata in crossing of hands, might appropriately be 
 A. Germer, termed "toccata." You know that a toccata 
 °' ^^' was intended to show off the execution— a 
 kind of piece or study in the bravura style. " Toccare '' 
 ("to touch") and our words, "to play" have practi- 
 cally the same meaning. 
 
Domenico Scarlatti (1683-1757). 
 
 No. II. Toccata. Presto. 
 
 73 
 
 ( 
 \ 
 
 ( 
 1 
 
 R.. 
 
 !^-^ 
 
 ^^ fi 
 
 :g=i»3t: 
 
 ::S:=S= 
 
 T^S^i 
 
 3C* 
 
 i=C--^-^:i-:r 
 
 L L 
 
 / 
 
 p-lt # J 
 
 
 ft ft V 
 
 
 ^1 
 
 *^^^ 
 
 •jt; 
 
 Most of you will know the movement in D' usually 
 entitled " Tempo di Ballo," i e., in the style of a dance 
 movement. Well : No. 22 in A and No. 2 in A are 
 very similar in style and might thus be linked together. 
 
 No. 25 again presents some points of similarity to 
 the old style fugal toccatas of Bach, except that the 
 fugal section is wanting, but the rhetorical declama- 
 tory section and the ensuing sympathetic and quiet 
 passage is there. The composition contains sweeping 
 scale passages and brilliant flourishes in thirds. 
 
 We notice that No. 30 in G, and No. 8 in the Germer 
 collection (Bosworth) are plainly in the form of a 
 gigue after the usual suite style. 
 
 We have spoken of the similarity of certain of Scar- 
 
74 Conversations on the Pianoforte Classics. 
 
 latti's pieces to the old dance forms as used in the 
 suites. It must be remembered that these pieces were 
 sent out without titles and were left to interpret 
 themselves. 
 
 <fe <^ 4, 
 
 The first collection of thirty studies or sonatas was 
 published in Paris while Scarlatti was at Madrid, 
 
 probably in 1733, but not later than 1746. 
 Collections other collections appeared in Amsterdam; 
 of Scarlatti. , • x j i. I ^ -sr 
 
 and in London between 1730-7, etc. Von 
 
 Billow, the well-known virtuoso and editor, seized on 
 the similarity to some of the dance forms and in Peters 
 Edition we &nd eighteen of Scarlatti's compositions 
 arranged by him with titles — as forming a suite of 
 these old dance forms. 
 
 « <fe •& 
 
 Scarlatti,' by the way, wrote also some fugues — and 
 though he did not shine particularly in this branch of 
 art, the " Cat's Fugue " still survives, doubtless because 
 of the idea associated with it. You will have heard 
 the story that the subject of the fugue was suggested 
 to Scarlatti, by a cat strolling over the keys of a piano. 
 Here is the subject : 
 
 Scarlatti. Theme of the "Cat's Fugue.'' 
 
 %^E^^4A^= 
 
Domenico Scarlatti (i68^-iys7)- 75 
 
 Needless to say, Scarlatti makes the composition as 
 effective as the bizarre theme would allow. 
 
 4 * « 
 
 We have now gone sufficiently far to draw your 
 attention to the nature of these sketches of Scarlatti. 
 
 But first of all let me say that some twenty years 
 previous to the first issue of Scarlatti's compositions, 
 Scarlatti's i-^-> i" 1713) there were spread abroad some 
 Character- collections or suites of short pieces by the 
 istic Pieces, j-enowned Franqois Couperin, of Paris, to 
 each number of which was given some quaint 
 characteristic title, such as "The Bees," "The 
 Butterflies," "The Enchantress," "The Huntress" 
 (Diana), etc., as well as the usual old dance 
 forms, minuet, etc. 
 
 Now it would appear that Scarlatti while not gener- 
 ally giving titles to his pieces strove to suggest similar 
 things, that is, he intended them to be what we now 
 term "characteristic sketches." Hence I have spoken 
 of a "Fairy Capriccio," "The Chase," Toccata, etc. The 
 next two numbers to be described suggest again some- 
 thing of the humorous buffoonery usually associated 
 with the old-fashioned pantomimes, the dance measures 
 accompanying the tripping antics of harlequin and 
 columbine. Schumann and others have also intet- 
 preted these dance measures. 
 
76 Conversations on the Pianoforte Classics. 
 
 No. 31 in C The dainty tripping No. 31 in C (G 3), 
 (Harleciuin). therefore, we would entitle " Harlequin," 
 with its interesting harlequin leaps in either hand. 
 
 ) 
 
 No. 31. " Harlequin." Allegro vivace. 
 
 ''^mwmm^^^^iB 
 
 The smooth-flowing Pastorale, No. 32, the Study, 
 No. 33, with its rolling arpeggio bass, broken octaves 
 and progressions of sixths both arrest attention. 
 
 No. 37, in C, resembling the "Harlequin," No. 31, we 
 would name " Pierrot and Columbine '' — its ceaseless 
 
 jjo 37 dainty tripping action reinforced by octave 
 Pierrot and passages and strangely prophetic of 
 Columbine. Clementi and the early Beethoven technical 
 style, is very attractive. The execution of No. 46 
 also sounds wonderfully modern with its weft of 
 alternating scale and arpeggio passages. 
 
Domenico Scarlatti (i^S^-ij^'j). 
 
 77 
 
 No 48. Presto 
 
 ^=-1 
 
 ? — H 
 
 ' -t -^ -fi- I-.' I - 1 
 
 stac. 
 
 spia^i^^^^gg 
 
 ■fe 4 !% 
 
 No. 48, in G, shows the Italian eighteenth century 
 
 Liszt, as we may term Scarlatti, indulging 
 
 48 inGr " ^^ ^°'^& skips over the keyboard, one would 
 
 Hop, Skip think he was interpreting the " hop, skip 
 
 and Jump, and jump'' game of one's youth. 
 
 or the j^Q - J .^j^jj jj-g profusion of double 
 
 GteizbIIs. 
 
 thirds, sixths and rolling broken sixths, as 
 
 well as No. 63, again suggest the Clementi and early 
 Beethoven technique. No. 53 also where it crosses the 
 hands curiously suggests a passage in Beethoven's 
 "Tedesco" sonatina, while No. 59 in D sounds like 
 a Clementi prelude. 
 
 The fast and furious No. 62 in F minor (G 12) 
 
 No. 62. Prestissimo. 
 
 ) 
 1 
 
 5=S 
 
 i=g=i 
 
 ZJiZZi 
 
 -±.z.r 
 
 '-■ET; 
 
 s. 
 
 i"^ rr}. 
 
 fp 
 
 lit :^: d- ^ ■*■ -'- -^ 
 
 
 ■»■ 0- 
 
78 Conversations on the Pianoforte Classics 
 
 drops the theme later into octaves equally giddy and 
 impetuous, giving it almost a tarantella character. 
 
 <fe ■& « 
 
 Lastly, the first of the three movements 
 No. 64, -^^ jyfQ 5 > strongly suggests the title " Mili- 
 Military. „ , , -, r tj j ■ 
 
 tary and also reminds one oi Haydn m 
 
 his gayest humour. 
 
 If the student examines the numbers we have 
 
 described he will easily see that Scarlatti's work justi- 
 
 „ , ... &es its description as the foundation of 
 Scarlatti, 5 
 
 Founder of modern technique. We see in it all the 
 Modern technical features which distinguish the 
 Technique. ^Q^ks of Clementi and the earlier Beet- 
 hoven, who again built on Clementi. We must not, 
 however, put too much stress on this fact. Technique 
 is not more important than formal development and 
 the combination of these two elements does not appear 
 until we come to Mozart and Clementi, for neither Em. 
 Bach nor Haydn were particularly progressive as 
 regards pianoforte technique. 
 
 Then, again, Scarlatti was purely Italian, the sparkle 
 and sunshine is one-sided, and for the necessary 
 
Domenico Scarlatti (idSyiy^y). 79 
 
 reflective contrast we must look again to Haydn and 
 Beethoven who combined the two qualities, especially 
 
 the latter composer. 
 
 4 * 4 
 
 I read the other day in Conan Doyle's " Sherlock 
 Holmes," who, by the way, is described as an enthusi- 
 astic musician, the following sentence : " I 
 n rospec- Q^ggj-yg'- gg^yg }^g "that there is a good deal 
 tive Music. . „ . ^ 
 
 of German music on the programme, which 
 
 is rather more to my taste than the Italian or French. 
 It is introspective and I want to introspect." Well, 
 we may not all want to introspect, but perhaps the 
 most perfect type of music is that which both satisfies 
 the longing for sunshine and sparkle, as well as the 
 reflective and introspective element. 
 
 Scarlatti certainly was not introspective, Em. Bach 
 (following his father) and Haydn were so to some 
 extent, but in Beethoven we find the deepest as well as 
 the widest range of all human thought. 
 
 No one composer, however, comprises everything in 
 perfection, and though we are looking ahead some- 
 what, we may say that Beethoven falls short as regards 
 pianoforte music in its distinctive technique, since 
 pianoforte technique only came to its fullest fruition 
 in Liszt — just as Beethoven also falls short of perfec- 
 tion in colouring in his orchestral works because 
 Berlioz, Tchaikovsky, Strauss and others were not yet. 
 
 Another episode is necessary here now, and it is one 
 which applies to all three of our composers, and that is 
 
8o Conversations on the Pianoforte Classics. 
 
 as I have already said, Scarlatti was 
 ^^^SSr'" decidedly monophonic in style. With him 
 there was no division of interest as regards 
 the melody. The word "monophonic" means "one 
 sounded " or in one part, as opposed to the setting up 
 of many sounds, or many parts in the polyphonic style. 
 
 Scarlatti indeed sat at the parting of the ways. His 
 music as you have heard was always concerned with a 
 principal melody. 
 
 In the words of Siefert's German "History of 
 Klavier Music " : " Their spirit throughout is mono- 
 phonic, not polyphonic : his means of existence is 
 harmony and only harmony. Harmony is the origin 
 and fount of- all his melodies and of his technical 
 figuration." 
 
 4 >S cfe 
 
 PRINCIPAL EDITIONS OF D. SCARLATTI. 
 
 Universal Edition (450-3), Seventy Compositions, 
 four vols., IS. 6d. each net. 
 
 Rahter (Longo Edition), Twenty-four Pieces, 
 arranged in Suite Form. 
 
 Peters^ (277, Biilow Edition), Eighteen Pieces, 
 arranged in Suite Form, 2s. 2d. net. 
 
 Breitkopf (432, Clara Schumann), Twenty Selected 
 Sonatas, 3 s. net. 
 
 See Musical Dictionary and "Famous 
 Biography. _ „ 
 
 Pianists. (Scarlatti ) By E. J. Dent, 
 i2s. 6d. net. 
 
HOW TO STUDY THE 
 PIANOFORTE WORKS OF 
 
 C. P. EMANUEL BACH 
 
 AND 
 
 HAYDN 
 
 HERBERT WESTERBY 
 
 MUS.BAC, F.R.C.O., L.M.T.C.L. 
 
 WITH MUSIC EXAMPLES 
 
 London : 
 V/ILT.IAM REEVES, 83 Charing Cross Road, W.C. 
 
UNIFORM WITH THIS BOOK. 
 Each published sepavately, 
 
 HOW TO STUDY THE PIANOFORTE 
 WORKS OF 
 
 1. Handel. 5. Mozart, 
 
 2. Bach. 6. Clementi. 
 
 3. DoM. Scarlatti. 7. Beethoven. 
 
 4. Emanuel Bach and Haydn. 
 
INTRODUCTION. 
 
 THE present work is intended for the average 
 moderately advanced piano forte pupil who wishes 
 to go beyond the dips into the classics made during 
 the course of instruction and to learn to know some- 
 thing of the best pianoforte literature as a whole. 
 
 To do this it is necessary to build a foundation on 
 the classics and proceed later, in historic order with the 
 Romantics, and the more modern national schools of 
 thought. 
 
 No proper idea of pianoforte literature can be gained 
 unless the historic trend of the various compositions is 
 kept in view ; and this, it may be said, has been the 
 author's principal aim throughout. For the same 
 reason only those principal composers are chosen who 
 are in the direct line of progress. 
 
 Space was not forthcoming for complete biographies 
 of the masters concerned, but the student is directed 
 to the introductory list of books appended to each 
 chapter, as well as to the various principal editions 
 recommended, From these the reader can select any 
 
iv Introduction. 
 
 necessary additions to that library which every amateur 
 and professional student should aim at forming. As 
 regards the interpretation of Beethoven's sonatas, an 
 attempt has been made to draw a middle line between 
 the flowery interpretations of Elterlein and the formal 
 analyses of the academic texts. For the rest it may be 
 said that it is very necessary for the student to consult 
 and play over the works described in conjunction with 
 the book itself, if he or she is to understand and enjoy 
 the many beauties present in them. 
 
 That this little work may be found a practj^l and 
 reliable guide is the earnest wish of the author. 
 
CFIAPTER IV. 
 
 C. p. EMANUEL BACH (1714-88.) 
 AND HAYDN (1732-1809). 
 
 ILLUSTRATIVE PROGRAMME. 
 C. P- E. BACH. 
 
 SCHWENKER EDITION (UNIVERSAL EDITION, 1 758-80). 
 Sonata No. 7 in F (Lar ghetto). 
 .,, „ ^ „ A (Allegro Assai.). 
 
 „ „ p „ G (Allegretto Moderato). 
 
 „ „ 6 „ D minor (Cantabile e Mesto). 
 
 I, M J :, F (Allegretto). 
 
 „ 4 „ A minor (Allegro- — Allegro di 
 
 Uolto). 
 „ 2 „ G (Allegro). 
 
 HAYDN. 
 
 LnoLFF Selection (1774-90). 
 Sonata No. 2 in C (Allegro con Brio — Adagio) 
 ,, „ 5 « G (Allegro — Presto). 
 
 „ , g „ E -flat (Allegro — Adagio- 
 
 vetto). 
 ,„ „ 10. „. E flat (section.'.). 
 
CHAPTER IV. 
 
 C. P. Emanuhl Bach (1714-88) and 
 Haydn 1732-1809). 
 
 WE now come to C. P. Emanuel Bach, who was the 
 third son of the great Sebastian Each. 
 Emanuel was attached to the court of the 
 Prussian monarch, Frederick the Great, near Berlin, 
 and had the happy duties of accompanying His 
 Majesty's performances, shall we say his " tootling '' 
 upon the flute, for which Frederick was also a com- 
 poser. 
 
 * 1^ cfe 
 
 As a composer, Em. Bach's style to begin with is 
 much nearer to that of his father than to Scarlatti. He 
 C. P. E.Bach's has much more of the smooth, rolling, 
 Style, almost organ style of the " father of organ- 
 ists" than of the piquant wit characteristic of the 
 Italian harpsichord virtuoso. Partly on account of 
 this, and also owing to the fact that he is frequently 
 
C. p. Emanuel Bach and Haydn. 83 
 
 not very inspired, the popularity of Em. Bach has 
 waned somewhat more than that of Scarlatti. In 
 short, as regards technical style, Em. Bach was not 
 exactly a "progressive." Moreover, like Scarlatti his 
 music is always "thin" in texture. 
 
 This leads me, however, to the main point, and that 
 is, our composers, Em. Bach and Haydn, made up for 
 what Scarlatti was wanting in, i.e., in development of 
 idea or form. 
 
 To understand this properly I am afraid I must ask 
 you to go with me for a moment into the question of 
 " musical form," as it is called. 
 
 4 '^ C 
 
 Musical form has been de&ned as having mostly to 
 Defiaition *^° with melody, and all melody you will 
 of Musical find, to be intelligible must have some 
 Form- definite plan Or form. 
 
 Take a simple hymn tune, chorale or chant, say of 
 four lines, and suppose we letter each line thus : A, B, 
 C, D, supposing that each line is completely 
 different. This, however, is rarely the case, 
 and you will notice that usually one or other of these 
 lines is sure to be either a repetition of another line, 
 or to be an imitation of it in some form or other. Some 
 such forms as these are met with : 
 
 A B C A 
 A B C B 
 A B A B 
 
84 Conversations on the Pianoforte Classics. 
 
 etc., and this kind of thing applies to all kiiids 
 of instrumental or vocal music. There must be 
 some pattern or design if music is not to be 
 a mere nonsensical rambling. Moreover, there must 
 be some definition as to the key of a piece. You can- 
 not intelligently begin in one key, and end in another 
 though you may touch on various other keys on the 
 way, neither can you when you come to the considera- 
 tion of chords or harmony mix up chords taken from 
 all the various keys indiscriminately, just as you 
 would a bag of potatoes. Everything in music just 
 as in other kinds of art has its place if it is to be any- 
 thing more than a senseless jumble. 
 
 You will deduct from this that in musical form we 
 Its can have variety or contrast of melody and 
 Elements, harmony, but that to be intelligible we must 
 have also iinit'j! or symmetry of idea. 
 
 First of all, we must define the key and the rhythm 
 of any composition and then symmetry or unity will 
 come if we take care to have some sort of a family 
 resemblance or agreement as well as contrast between 
 the various sentences. 
 
 If we analyse the old dance forms from Handel 
 and Each's suites and the pieces of Scarlatti we find 
 Old Sonata them as a rule taking the following shape. 
 
 Form. Thus if A and B, are. the. first and second 
 melodies, their form in Part I usually stands thus : A, 
 B ; and in Part 11, A, B also, but (and this is where 
 contrast or variety comes in), these last two sentences 
 
C p. Emanuel Back and Haydn. 85 
 
 are in different and usually well -contrasted keys. For 
 instance, suppose that in 
 
 Part I. A is in the key of C ; B is in tlie l<ey of G. 
 
 Now if the same order of keys was observed in Part 
 II, we should end in a different key from that in which 
 we begin, hence the happy device was hit upon of 
 reversing the order. 
 
 Part II. A is put into the key of G and B into the first 
 key of C. 
 
 This is what is called the old sonata form. 
 
 Of course everything was not so rigidly square or 
 cut and dried, so to speak, the sentences were of dif- 
 ferent lengths and episodes or other passages were 
 placed between, so as to lead in a smooth manner from 
 one section to another, also sometimes the second subject 
 or melody was not always well defined, as is frequently 
 the. case with Scarlatti and with Em. Bach., 
 
 ■4*4 
 
 Now most of you will know that the modern sonata 
 culminated in Beetlioven, just as did the fugue with 
 Bach, but the way for Beethoven had to be prepared 
 and this was done by Bach's son, Emanuel, and by 
 Haydn. 
 
 The transition to the modern sonata form came 
 about thus : In Part II of a sonata, composers some- 
 
86 Conversations on the Pianoforte Classics. 
 
 Tr n 'b' n ^'^^^ tried a new plan. Instead of merely 
 
 to the repeating the first theme in a new key, they 
 
 Modern substituted a portion made up or developed 
 
 ona a. -^^ ^ fashion out of fragments of gne or 
 
 both of the original themes. 
 
 From this to the modern sonata form was but a 
 short step. This necessary step consisted of making 
 the development part larger and more important, and 
 then in what is termed the final recapitulation or 
 repetition section the first theme was again added to 
 the second, only this time, like the second theme, it 
 was put into the tonic. From these plans we can see 
 at a glance the progress from one form to another : 
 
 Old Sonata Form. 
 Part I. AiaC; BinG. 
 Part II. Ain G; B in C. 
 
 Intermediate Form. 
 Part I. A ill C ; B in G as before. 
 
 Part 11. Fragmentary Development of A or B or both BinC 
 as before. 
 
 Modern Sonata Form. 
 Part I. Ain C; BinG. 
 Part II. Full Development of A and B ; A in C ; B in C. 
 
 <£ 4 4 
 
 At the court of Frederick the Great in Berlin where 
 Em. Bach was "cembalist," Italian music was very 
 much the fashion, and this Italian music doubtless 
 included the popular and meritorious violin composi- 
 
C. p. Emanuel Bach and Haydn. %•/ 
 
 tions of such as Veracini, Tartini and Locatelli which 
 were remarkably advanced in their "form." 
 
 ■4 « <S 
 
 Em. Bach's first sonatas were written in 1740, some 
 seventeen years before Scarlatti's death, and his share 
 „ „ in sonata development lay (i) in his prac- 
 
 Develop- tically settling it in three contrasted move- 
 ment of ments ; (2) the introduction of balance or 
 Sonata contrast both in style generally, using the 
 reflective as well as the vivacious element, 
 and in the introduction of those surprising modula- 
 tions and harmonies, and the unexpected marks of ex- 
 pression which are so prominent later in Beethoven. 
 (3) The second theme is more definite, and the develop- 
 ment part more brought out than with Scarlatti. (4) 
 His works, like those of Scarlatti, were decidedly 
 monophonic or harmonic in style. 
 
 Em. Bach's importance lay finally in his being the 
 acknowledged model for Haydn whose second set of 
 sonatas, composed in 1773, were again an "immense 
 improvement" (Shedlock) on those of Em. Bach, as 
 regards the development sections. Enough has been 
 now said to trace these two composers in connection 
 with the development of the most important form of 
 the sonata. It now remains to go through Em. Bach's 
 work and trace for our edification some of their prin- 
 cipal features. ^ 
 
88 
 
 Conversations on the Pianoforte Classics. 
 
 The first collection (written in 1740, while Handel, 
 old. Bach and Scarlatti were still alive) are in the old 
 Em Bach's ^^° ^"^^ three-part style but the Teutonic 
 First CoUec- reflective temperament is seen to be superior 
 tion, 1740. in the slow movements. As these pieces 
 are not generally accessible, we will take a general 
 collection of fourteen of the best works, edited by 
 Schenker (Universal Edition) who has also written a 
 critical monograph descriptive of the same and of the 
 ornamentation, which at that time was a matter much 
 left to the performer. 
 
 No. 7, the earliest of this collection (composed 
 Schenker 1758) strikes us at once by the modern 
 Collection, feeling of the two slow movements, though 
 the writing certainly sounds somewhat thin to us. 
 
 No. 7. Andante. Schwenker Collection 
 
 \ 
 
 
 'mi) 
 
 !3i;g^BiE 
 
 -.rTf=^zr-r, 
 
 z3^^:-^t=»= 
 
 =i 
 
 ( 
 \ 
 
 
 ^:b=^= 
 
C. p. Emanuel Back and Haydn. 
 
 89 
 
 - This lur?hetto shows the younger Bach's strong 
 point in the deep feeling and expression inherited 
 doubtless from his father. The quick movement is 
 bold but not equal to Scarlatti. 
 
 We take now No. 5 in A, composed in 1765, and we 
 are struck at once by the length of the first movement 
 
 Allegro as compared with Scarlatti : the develop- 
 Assai, Ko. 5. ment and repetition sections in this work 
 are specially complete. Both first .and final move- 
 ments are, in fact, quite in modern sonata form, while 
 the whole work is also interesting and bold in style. 
 
 No. 5,' Allegro Finale. 
 
 * 
 
 5^1 
 
 ^=t= 
 
 
 i=^±;iS: 
 
 - »— ^ — • '-\~' r 
 
 
 n^^ 
 
 ^^i 
 
 ittZK 
 
 piji. 
 
 fe^3= 
 
 ^S=f 
 
 
 11^ 
 
 ■F-i — t-S^ — b 
 
 The other movement is not specially noteworthy. 
 In the first movement of No. g, composed in 1765, 
 Allegro, we now see the reflective element intro- 
 No. 9. duced in the usually brilliant first move- 
 
go Conversations on the Pianoforte Classics. 
 
 ment as well as several unexpected strong contrasts in 
 expression. 
 
 Next the slow movement from No. 6, composed in 
 1766, attracts our attention as quite a gem in its way. 
 Cantabile e It is to be played cantabile e mesto, i.e., in 
 mesto, No. 6. a singing style and sad in manner. Both 
 melody and harmony are grateful, and quite equal to 
 Haydn who did not publish his first sonatas until 
 eight years later. 
 
 Ku. 6. Cantnbile e mesto. 
 
 ^~^^^W\'Z1^ 
 
 -'-a- 
 
 iPP 
 
 It^ 
 
 It has been appropriately said that this movement 
 forms a direct line in emotional expression between 
 old Bach and Beethoven himself. 
 
 The next in our review, composed some six years 
 later (No. 3) begins to show something more of the 
 
C. P Emanuel Bach and Haydn. 
 
 91 
 
 minutely phrased or almost violin style which we 
 associate with Haydn especially in the final allegretto. 
 
 No. I in C and 4 in A minor in the collection are 
 next in order of date (1773 and 1774), and these re- 
 Allegretto, markable to relate, revert to the older style 
 
 No. 3. of technique associated with his father, 
 Sebastian Bach. 
 
 The first and last movements of No. 4, for instance, 
 
 remind us of the older Bach's chromatic fantasia in 
 
 Sections the style and brilliance of their technique, 
 
 No. 4. while No. 10, a cantabile movement, from 
 a sonata written in 1774, might for all purposes be 
 written by Sebastian Bach himself. 
 
 « <S 4 
 
 No. 2. - Allegretto. 
 
 
 --t.3zqi=:f=i? 
 
 -•- n- 
 
 ^:-^.g__ f-F-!- I— h-r-h-F- 
 
 EE^^ 
 
 ::CT= 
 
 --*— 
 
 ^l=ii=zl 
 
 --^^t 
 
 %*J^^\ 
 
 i^^m 
 
 r 
 
92 Conversations on the Pianoforte Classics. 
 
 '/'■No. 2, dated 1780, shows again more the piquancy 
 of Haydn combined, in the last movement, with the 
 Section toccata-like brilliancy of old Bach and 
 Allegro. Scarlatti. But by this time Haydn had 
 already written his second book of sonatas andprCi- 
 gress is to be looked for now in the works of thi& com- 
 poser. Nevertheless, Nos. 12 and 13, movements of a 
 sonata written by Em. Bach in 1784 are worthy to be 
 placed with some of those of Haydn for their surpris- 
 ing harmonies and modulations. The largo especially 
 is worthy of attention. 
 
 No. 12. Largo. 
 
 
 
 mf 
 
 iiSi!|*3^'^i== 
 
 =l=M=tri 
 
 
 ■ft- -p. 
 
 ■5l-:.i_ft; 
 
 --^-^—•—•. 
 
 
C. p. Emanuel Back and Haydn. 93 
 
 HAYDN. 
 
 KEYBOARD technique was not a strong point with 
 Haydn, who was principally a writer of violin and 
 string quartet and orchestral music — indeed, with the 
 exceptions of the last Sonata in E flat, of 1790, and 
 the F minor Variations, he nowhere approaches quite 
 the brilliance and appropriateness of keyboard tech- 
 nique which we see in the Emanuel Bach and Scarlatti 
 examples. 
 
 Progress, therefore, in this direction had to come 
 principally through Clementi, Mozart and Beethoven. 
 We might say a word here about the general technique 
 of the period. 
 
 <& <S « 
 
 It is said that old Bach himself played with a 
 
 scarcely perceptible movement of the hands, always 
 
 TecliniQue keeping the fingers well bent. Previous to 
 
 of the this it was customary to hold the fingers 
 
 Period, straight, the thumb was little used and 
 
 hung down in front of the keyboard, and the fingers 
 
 were used with an inward scooping action. Old Bach 
 
 reformed all this, using the thumb and systematising 
 
 the fingering. The method of his then wonderful 
 
 execution was kept secret till his death when his son 
 
 Emanuel took and embodied this and other acquired 
 
 Bach and Baydn—i 
 
94 Conversations on the Pianoforte Classics. 
 
 knowledge in his method entitled the "True Art of 
 Playing the Clavier" in 1753. Hence it is natural that 
 he should lean more to his father's style than the 
 Scarlatti technique. 
 
 A factor which must not be forgotten at this time is 
 the instrument then commonly in use. We have already 
 spoken of the delicate harpsichord and similar, but 
 expressive, clavichord. 
 
 «& 4 <fe 
 
 The new pianoforte was now coming into fashion, 
 but unfortunately it was deficient in sustaining power, 
 The Early and Emanuel Bach though endeavouring 
 Pianoforte, to play it, and in his last sonatas expressly 
 writing them for the piano, always preferred the clavi- 
 chord for its singing tone and the advantage of the 
 bebung. This latter was a kind of tremolo effect, 
 obtained by balancing the key with the finger. In 
 Sonata No. 7 in F of the Bach collection, are examples 
 of its use. One result of his endeavour to learn the 
 then new piano was the unexpected fortes and pianos 
 which we find in his works. These were further 
 exploited by Beethoven. 
 
 You will remember that the merit claimed for the 
 early pianoforte was that it could play both -piano and 
 forte, and no doubt this new feature was made the 
 most of at that time. 
 
 Having made this little excursion as regards tech- 
 nique we will now again treat of Haydn's music. 
 
C. p. Emanuel Bach and Haydn. 95 
 
 Character- Haydn's work owing to its more or less 
 
 istics of violin origin is naturally more minutely 
 
 Haydn's phrased than that of Emanuel Bach, his 
 
 harmonies are also more advanced, and his 
 
 development 'of form is especially more masterly. 
 
 Haydn was trained by an Italian, Porpora, in 
 Vienna, and his works generally show a good deal of 
 the gaiety, piquancy and love of melody which belong 
 to Italian composers and specially to our exemplar, 
 Scarlatti. The florid Italian operatic style is also 
 shown in Haydn's slow movements, just as it is in the 
 vocal arias in the popular oratorio, the "Creation." 
 At this time when much attention is being given to the 
 study of traditional or folk song melodies, it is inter- 
 esting to note that much of Haydn's simplicity and 
 geniality is really due to the use of the melodies of 
 his native land (Croatia) in his compositions. 
 
 From his study of Emanuel Bach, Haydn, however, 
 gained a deeper note, one much more reflective in char- 
 acter as well as a command of development of form. 
 These opposite characteristics together make up 
 Haydn's style, and in going through those maturer 
 works of his which form the sequel to those of Emanuel 
 Bach, we should look for these points. 
 
 ■6 <s * 
 
 Taking first of all, the No. i of Haydn's first and 
 earliest sonatas (dated 1774),* we notice at once the 
 
 * No. 2 of Litolffs Ten Sonatas. 
 
96 Conversations on the Pianoforte Classics. 
 
 HaTdn's ^^"^^ definite rhythmical and pleasing 
 Sonatas, melody, superior to that of Em. Bach — also 
 an innocent and gay, though yet thin (like Scarlatti 
 and E. M. Bach) and immature style. 
 
 Allecro con brio. 
 
 .|B_|»_^- 
 
 :»irii. 
 
 
 h 
 
 ^;e: 
 
 
 1 
 
 Adagio. -_. 
 
 fSB4|H3rE 
 
 I 
 
 -^ -1 — F- 
 
 Eff^'E- 
 
 E^i^^j 
 
 The Adagio in F is melodious and sincere, though 
 not deep, while the finale is lighthearted like the first 
 movement. You will already have noticed now 
 Haydn's deeper, more comprehensive and modern har- 
 monies as well as his superiority in melody. 
 
 The 1776 set of sonatas are somewhat similar but 
 better developed than the 1774 set, as in the E minor 
 Sonata for example. Our story of the sonata grows 
 apace, however, for by 1780, the date of the next set, 
 both dementi's and Mozart's sonatas were making 
 their way and their new features were beginning to 
 
C. p. Emanuel Bach and Haydn. 
 
 9; 
 
 bear influence. Thus the Haydn G minor Sonata 
 seems to have something of Mozart, the Op. 78, in E 
 flat, reminds us of Clementi, while curiously the 
 " Genziger " E flat Sonata seems in its turn to have 
 suggested the largo in the No. 12 movement by 
 Emanuel Bach I spoke of. 
 
 A very typical sonata of Haydn is the 6-8 time one 
 in G portraying his love of innocent fun and merri- 
 ment.* 
 
 Sonata in G. 
 Allegretto innocentc. 
 
 mp 
 
 
 - m — m — m—» — ■ — \ 
 
 
 U\-% 
 
 
 zt-p-f.P: 
 
 
 ^ 
 
 ^^s^r-^ 
 
 7^ 
 
 
 r 
 
 n- -ft. -f 
 
 drii 
 
 ;S=^- 
 
 A deeper note is struck in tlie opening movement of 
 the C sharp minor Sonata, but the scherzando is as 
 gay as ever. 
 
 The two finest of Haydn's sonatas, however, are 
 those in E flat. 
 
 * No. 5. Litolff. 
 
98 Conversations on the Pianoforte Classics. 
 
 The first (a sonata* dedicated to Frau Genziger and 
 
 composed in 1780), for its deep earnest feeling and 
 
 The nobility of purpose was so far unapproached, 
 
 "Genziger" save for one or two slow movements of 
 
 Sonata. Emanuel Bach, already mentioned and the 
 then recent A minor Sonata of Mozart. 
 
 Genziger Sonata. 
 
 Allegro. 
 
 f#- 
 
 
 
 ^-F- 
 
 itiisi 
 
 h 
 
 Adagio cantabile. 
 
 I 
 
 J__J_ 
 
 
 -£2. 
 
 ^z±- 
 
 ii 
 
 -=)^F- 
 
 i^£ 
 
 p^^^^^ l 
 
 Si 
 
 r=EE 
 
 The graceful adagio cantabile movement contains, 
 as do all the slow movements of this time, many grace 
 
 * No. 9. Litolff. 
 
C. p. Emanuel Bach and Haydn. gg 
 
 . notes and ornamental passages, after the 
 
 florid Italian style, intended to eke out the 
 
 tone of the comparatively non-sustaining clavichord 
 
 and harpsichord, for pianofortes were scarcely yet the 
 
 fashion. 
 
 The gay, innocent minuet makes a happy ending as 
 you will hear. Those who can play this for them- 
 selves I would recommend to go on afterwards to the 
 other E flat Sonata* written i/QO, and note the more 
 ambitious technique, the result, most likely of Mozart's 
 and dementi's influence — the passage in double thirds 
 and the sweeping scale passages, also the ornamental 
 arpeggios in the andante. 
 
 E flat Sonata, i/go. 
 
 The ground was now ripe for Beethoven, who, two 
 years later, became the pupil of Haydn in Vienna, 
 where he shortly after wrote his first sonatas, and dedi 
 cated them to his master. 
 
 This, however, is anticipating. 
 
 While we are speaking of Haydn's works, we must 
 
 * No. 10. Litolff. 
 
loo Conversations on the Pianoforte Classics. 
 
 not forget some other pieces of his, though those do 
 Haydn's "°* make for progress in any particular 
 Other direction, except his variations which are 
 Works, more harmonic in style than those of 
 Mozart. Of these the interesting Variations in F 
 minor are the best and I would specially recommend 
 you to study them. A florid Adagio in F and vivaci- 
 ous Fantasia in C also claim attention as well as the 
 " Master and Scholar " Variations for four hands. 
 
 As regards concertos with orchestra, both Em. Bach 
 and Haydn wrote them, but like those of Seb. Bach, 
 Rameau, W. F. Bach and others, they have 
 not the distinctive form and treatment 
 which we associate with the modern concertos of which 
 Mozart is the founder. Those in existence are of no 
 great merit, and in consequence they are somewhat out' 
 of date. 
 
 ■fe * "4 
 
 Looking at the practical or technical side we can 
 gain much as regards activity, neatness and dainti- 
 ness of style from Scarlatti, but from Em. Bach little 
 but what is better done in his father's work. Haydn's 
 neatly phrased work, however, is distinctly educational 
 as regards technique, though most of it is surpassed 
 by Beethoven. 
 
 I expect that most of you are familiar with the life 
 of the genial Papa Haydn as he was always called, 
 who, like Handel, Em. Bach, Mozart and others, was 
 
C. p. Emanuel Bach and Haydn. loi 
 
 in the service of one of those princes who posed as 
 patrons, often beneficent ones, in art and literature. 
 
 We are also interested in Haydn, because like 
 Handel, Clementi, Mozart and others he visited this 
 country and indeed first obtained a world-wide repu- 
 tation through his successes here. 
 
 I need not say more in this way except that perhaps 
 you may not have noticed that some likeness exists 
 between the appearance of our composers and their 
 works. The ponderous and robust features of Handel, 
 Bach and Emanuel Each, the alert Liszt look about 
 Scarlatti, and the vivacious but dark little man, 
 Haydn, all suggest similarities in their music. 
 
 In conclusion, we note that Haydn's affections were 
 
 chiefly with the violin and orchestra. His somewhat 
 
 Havdn's orchestral style was adopted by Beethoven 
 
 Orchestral but with the addition of the technique 
 
 Style. gained from Clementi and Mozart, which 
 Haydn never had. 
 
 « 'S ■& 
 
 The history of pianoforte music now begins to make 
 
 big strides. I have not yet treated of Clementi and 
 
 Mozart, and yet the last piano works of 
 
 Eve View Haydn and Mozart and much of Clementi 
 
 1788-1792 were written by the same time, 1 790-1. 
 
 and Emanuel Bach had died only two years 
 
 1757 1792 
 
 previously, in 1788, and Beethoven pub- 
 lished his first sonata but two years later — in 1792. 
 
 Bcfc/j. and Haydn 3 
 
102 Conversations on the Pianoforte Classics. 
 
 From the period of Scarlatti's virtuoso works for 
 harpsichord (Scarlatti died 1/57) ''.nd also from the 
 time of the polyphonic Handel (died 1759) and Bach 
 to the last of Haydn and the beginning of Beethoven 
 (1792), all within the space of some thirty years, 
 we have progressed as it were from the perfection of 
 Uie fugal or polyphonic style and the foundation of 
 modern technique to the foundation of what is called 
 the climax of musical form — the sonata. 
 
 4 "S « 
 
 The story of the perf ecti-,g of this sonata form belongs, 
 however, to Beethoven, and meanwhile, for our next 
 chapter, we shall have to mark time, and consider 
 especially the bold and attractive sonatas of Clementi, 
 who " inherited the mantle of Scarlatti " and of the 
 beautiful and artistic works of Mozart who blended in 
 them both poetry, masterly art and noble inspiration. 
 
 •S cfe e^ 
 
 PRINCIPAL EDITIONS OF C. P. EMANUEL 
 BACH. 
 
 Baumgart's Edition (Breslau, 1863), Sonatas, 
 Rondos and Variations, six books. (Leuckert.) 
 
 Universal Edition (548), Fourteen Pieces (Sonatas, 
 Sonata Movements and Rondo), 2s. net. 
 
 Augener (8008, Pauer Edition), Eighteen Popular 
 Pieces, 2s. net, one vol. 
 
C. p. Emanuel Bach and Haydn. 103 
 
 Steingraber (94, Riemann Edition), Compositionb, 
 3 s. net. 
 
 Farrenc's "Tresor ties Pianistes," Eighteen 
 Sonatas. 
 
 Steingraber (101-5, Riemann Edition), Concertos 
 (also arrangement for two pianos), in C minor, in G, 
 in D (2), and in E flat, 3s. net each. 
 
 Lengnick (Senff), in F minor, 6s. (full). Concerto 
 arranged for piano solo, 2s. 6d. net. 
 
 Cranz, Concertos in G and C minor, with orchestral 
 accompaniment, 5s. 6d. and 5s. net respectively. 
 
 Ereitkopf (Wotquenne). Thematic Catalogue, los. 
 
 Biography. See " Musical Record " (Prof. Niecks), 
 July, et seq, igo8, and Dictionaries. 
 
 Burney, "Present State of Music in Germany" 
 (1775), Interview with Em. Bach, German Edition con- 
 tains Autobiography. 
 
 Universal Edition (812), Schenkei, 
 "Ornamentation" (in German); Introduc- 
 tion to Em. Bach's Works, is. 7d. net. 
 
 See Dannreuther's "Ornamentation," Part II, 5s. net 
 (Novello), for nine chapters from Em. Bach's "The 
 True Art of Playing the Klavier." 
 
I04 Conversations on the Pianoforte Classics. 
 
 HAYDN. 
 
 Complete Breitkopf, Gesamtausgabe (3 vols, ready. 
 Works. rest in preparation). 
 
 AUGENER (6i8ia-6?, Riemann Edition), 
 
 00 or s. jjjj^^y_jjijjg Sonatas, four vols., 2s. net each ; 
 
 (6i8i^), Variations and Pieces; (6181/), Minuets and 
 
 German Dances, two vols , 2s. net each ; or complete, 
 
 bound in three vols., 6s. net each. 
 
 Sonatas BREITKOPF (iiQ, a, d), four vols., is. 6d. 
 
 Complete each net. 
 
 (34\ Peters (713 a-d), four vols, is. Sd. each. 
 
 LiTOLFF (4), one vol., 7s. 6d. net. 
 Selected AUGENER (8169, Fr. Taylor Edition), 
 Sonatas. Twenty-three Sonatas, 4s. net ; bound, 6s. net. 
 LiTOLFF (307), Ten Sonatas, is. 8d. net. 
 Selected SteingrAber (220), Nine Sonatas and 
 Works, other Works, 2s. 6d. net. 
 Peters (484), Fantasies, Variations, etc., is. id. net. 
 SteingrAber (219), Concerto in D, 2s. 6d. net. Also 
 arranged for two pianos. 
 
 See " Master Musicians," Hadden (Dent), 
 
 Biographies. j .. r- <. n/r ■ ■ .. c • 
 
 3s. od. net, and Great Musician heries, 
 
 Townsend (Low), 3s. net, also the Dictionaries. 
 
 POHL. " Mozart and Haydn in London," in German, 
 two vols. 
 
 NOHL. "Life of Haydn." (Presser.) 
 
 ICreHBIEL. "Music and Manners," 6s. net. (Haydn 
 in London, etc.). (Constable.) 
 
HOW TO STUDY THE 
 PIANOFORTE WORKS OF 
 
 MOZART 
 
 BY 
 
 HERBERT WESTERBY 
 
 MUS.BaC, F.R.C.O., L.M.T.C.L. 
 
 WITH MUSIC EXAMPLES 
 
 London : 
 WILLIAM REEVES, 83 Charing Cross Road, W.C. 
 
UNIFORM WITH THIS BOOK. 
 Each published separately. 
 
 HOW TO STUDY THE PIANOFORTE 
 WORKS OF 
 
 1. Handel. 5. Mozart. 
 
 2. Bach. 6. Clementi. 
 
 3. DoM. Scarlatti. 7. Beethoven. 
 
 4. Emanuel Bach and Haydn. 
 
INTRODUCTION. 
 
 THE present work is intended for the average 
 moderately advanced pianoforte pupil vi^ho wishes 
 to go beyond the dips into the classics made during 
 the course of instruction and to learn to know some- 
 thing of the best pianoforte literature as a whole. 
 
 To do this it is necessary to build a foundation on 
 the classics and proceed later, in historic order with the 
 Romantics, and the more modern national schools of 
 thought. 
 
 No proper idea of pianoforte literature can be gained 
 unless the historic trend of the various compositions is 
 kept in view; and this, it may be said, has been the 
 author's principal aim throughout. For the same 
 reason only those principal composers are chosen who 
 are in the direct line of progress. 
 
 Space was not forthcoming for complete biographies 
 of the masters concerned, but the student is directed 
 to the introductory list of books appended to each 
 chapter, as well as to the various principal editions 
 recommended. From these the reader can select any 
 
iv Introduction. 
 
 necessary additions to that library which every amateur 
 and professional student should aim at forming. As 
 regards the interpretation of Beethoven's sonatas, an 
 attempt has been made to draw a middle line between 
 the flowery interpretations of Elterlein and the formal 
 analyses of the academic texts. For the rest it may be 
 said that it is very necessary for the student to consult 
 and play over the works described in conjunction with 
 the book itself, if he or she is to understand and enjoy 
 the many beauties present in them. 
 
 That this little work may be found a practical and 
 reliable guide is the earnest wish of the author. 
 
CHAPTER V. 
 
 MOZART (1756-91). 
 
 ILLUSTRATIVE PROGRAMME. 
 The Variations. 
 
 /. Theme in G. 1765 (at nine years of age). 
 2. Theme in F. 176S (at twelve years of age). 
 
 Fischer's Minuet. 1773. 
 4.. " Je suis Lindor." 1780. 
 5. " Lison Dormait " (Adagio and Cadenza). 1776. 
 
 J 
 
 Solo Sonatas. 
 /. Allegro, Sonata in C. 1778. 
 
 2. C Minor Sonata (Allegro, Adagio, Allegro assai). 
 J. Fantasia in C yninor. 1785. 
 4.. Andante Cantabile (B flat Sonata). 
 
 Other Solo Works. 
 /. Fugue in C. 1782. 
 2. Fantasia in C minor. 1782. 
 
 105 
 
io6 Conversations on the Pianoforte Classics. 
 
 Other Solo Works (continued). 
 J. Rondo in F iy88. 
 if.. Adagio in B minor, ijgi- 
 
 Concerto in D minor. 1785. (Allegro, Romanza, 
 Rondo). 
 
 Duet Sonatas. 
 'No. 5, in F. 1786. (Adagio, Allegro molto. Andante, 
 Allegro). 
 
CHAPTER V. 
 
 Mozart (1756-91). 
 
 The Inventor of the Duet and Modern Concerto. 
 The Populariser of the Variation. 
 
 IT is unfortunate that the conception of Mozart with 
 the average pianoforte student should be generally 
 gained from a few works of his written admittedly 
 in educational style and not by any means represent- 
 ing him at his best. Of course, Mozart like the other 
 Unrepre- ^^^ round great composers has a reputation 
 sentative through his operatic, choral and chaniber 
 Works, music, which nothing can shake, but it is a 
 pity that the average student does not know him at his 
 best. All composers, it is true, have written indifferent 
 works and it is equally true that time tries all things 
 and that it naturally brings about the evolution of the 
 fittest. We and others, however, who are interested 
 in the best pianoforte music only have not time to wait 
 for the verdict of posterity, and therefore we must sift 
 the best for ourselves and enjoy it as we may. 
 
 Apart from the selection of the best of Mozart's 
 
 107 
 
io8 Conversations on the Pianoforte Classics. 
 
 works for our intellectual enjoyment there is another 
 aspect to be considered, and that is Mozart's place in 
 the history of pianoforte music generally. 
 
 We spoke in our last chapter of Clementi as the 
 direct predecessor of Beethoven — because of his 
 masterly sonatas. We must not forget that it is the 
 age of sonatas and that Beethoven represents the 
 climax in this direction. 
 
 Clementi was born in 1752 and Mozart four years 
 afterwards; so that they were contemporaries, 
 dementi's first sonatas (Op. 2) were published in the 
 year of Beethoven's birth, 1770, and were undisputed 
 models both for form and technique for twenty years 
 before the first sonatas (Op. 2) of Beethoven appeared 
 in 1796. 
 
 Before that date Mozart's short life was already 
 
 spent and gone, while Clementi lived until some five 
 
 Historic years after Beethoven's death. We see a 
 
 Position of difference, therefore, in the fact that while 
 
 Mozart. Mozart's work was practically all done 
 before Beethoven's appeared, dementi's continued 
 side by side with the latter. What then is the histori- 
 cal position of Mozart since he was surpassed in the 
 sonata by dementi? The answer is, that while 
 Mozart was not_Ja^the_du£ct--4ine_jaf__successic»-a* 
 ^^^^fafdiThe evolution of the_solo_jQnatar-he__was-the 
 popuTariser of the variation -form- and t>ie_inyRntnr pf 
 The moHSrT concerto and duet. 
 
Mozart (1756-gi). 109 
 
 Before dealing with his variations we may by way 
 of parenthesis remind you of some of the early facts 
 of Mozart's life — no doubt you are aware of the main 
 features of it. 
 
 * 4 4 
 
 Young Mozart was brought up in an atmosphere of 
 music — his father was an estimable musician, author of 
 a "Violin School" and was kapellmeister 
 EarlvLT ^^ ^^^ service of the Prince-Archbishop of 
 Salzburg in Austria. A prodigy from the 
 first, he was taught by his father when in his fourth 
 year, and soon began to compose, venturing even on a 
 concerto which though too difficult to play he insisted 
 to his father: "That is just why it is called concerto, 
 people must practise till they can play it perfectly." 
 
 Young Mozart now made his appearance in public 
 and in his sixth year his father took him on tour. We 
 have not space to go into all the interesting and amus- 
 ing incidents of Mozart's childhood. Suffice it to say 
 he was very warmly received at the courts of Versailles 
 and at Queen Charlotte's court in London, where the 
 prodigy stayed for a year, and became great friends 
 with Jno. Christian Bach (the Queen's music master), a 
 son of the great Sebastian. 
 
 Mozart was ten years of age when he got back after 
 his four years' tour. Subsequent tours were made to 
 
no Conversations on the Pianoforte Classics. 
 
 Italy where he was much influenced by Italian music, 
 at that time the model for musical Europe. 
 
 One fact which doubtless had something to do with 
 the evolution of Mozart's style for the pianoforte was 
 his devotion to the violin; for he wrote juvenile sonatas 
 for the piano and violin as well as a symphony for 
 orchestra. 
 
 ■S <fe <S 
 
 In 1765 in his ninth year young Mozart composed 
 
 sets of variations on popular themes and also what is 
 
 particularly interesting, the first duet for 
 
 The Pirst ^^^ performers at one keyboard. Before 
 
 " that separate instruments had always 
 
 been used — owing, no doubt, to the short compass of 
 
 the keyboards then in use. No doubt the idea was 
 
 suggested by the habit of playing with his sister. 
 
 ■a <5 •^ 
 
 Perhaps you would play some of the Variations on 
 
 a Theme in G composed by young Mozart in his ninth 
 
 Variation year. They are of course somewhat 
 
 on a Theme juvenile, though Nos. 4 and 7 promise 
 in G, 1765. ^eii 
 
 4 4 * 
 
 Speaking of variations reminds me of the important 
 part they have played in the evolution of pianoforte 
 
Mozart (ly^d-gi). m 
 
 Story of the ™usic and especially of its technique. I 
 Variation may remind you that the old composers 
 Form. when writing their suites of dance measures 
 indulged in these variations and stimulated interest by 
 adorning the theme in its repetitions with ornamental 
 passages, grace notes, turns, shakes, runs, broken 
 chords, etc. 
 
 The English harpsichord or virginal composers of 
 the time of Queen Elizabeth were particularly clever 
 and bold in this direction. They made full use of 
 points of imitation between the two hands and altera- 
 tion of rhythm. 
 
 The old Italian composers, Frescobaldi and Pas- 
 quini and the German, Frohberger, excelled in this 
 form. Frohberger made what for his time were daring 
 changes of harmony in his variations, while, coming to 
 later times, Purcell, Bach and Handel (as in the " Har- 
 monious Blacksmith ") gave special attention to it with 
 the increased devotion to technique. 
 
 dementi's example in the last chapter is one of the 
 best examples in the time preceding Mozart. Haydn's 
 variations are mostly elementary and belong to a past 
 age. His Variations in F minora — the only example 
 worthy of him — came late in his life, and in this work 
 he is ahead of Mozart in freedom and harmonic change. 
 
 ■fe <4 "S 
 
 Mozart was essentially taken up with the melodic 
 aspect of the variation, though he occasionally takes 
 
112 Conversations on the Pianoforte Classics. 
 
 Mozart's a very free view both of harmonies and 
 Variations, melody as in his variations in his Sonata in 
 D (with Rondeau Polonaise) which deserve special at- 
 tention. Meanwhile we might turn to the book of 
 Mozart's "Variations," containing some seventeen sets 
 in all. These are on all kinds of themes, sacred and 
 secular, popular and original, but, like the solo sonatas, 
 to be used with discrimination. 
 
 They generally run on some plan, the first few deal- 
 ing specially with the melody, then the harmony is 
 varied, and perhaps the mode — changing from major 
 to minor and vice versa. The last but one is usually 
 an Adagio in the florid ornamental style and is often 
 spun out to some length. In some cases there is also 
 a Cadenza after the style of a Concerto Cadenza. This, 
 as affording display for technique, usually appears in 
 the concluding variation. We might now take further 
 examples of Mozart's work in this form. 
 
 <fe <fe <& 
 
 The " Variations on an Original Theme in F " were 
 written in 1768, at the age of twelve years, and are 
 Variations remarkably artistic, considering that it 
 in F, 1768 is an early work ; better indeed than some of 
 the sets written towards the end of his life, which, being 
 intended for popular taste or educational purposes, are 
 not so good. The first thing that strikes one is the 
 violin phraseology used — the whole of it might have 
 
Mozart (ly^d-gi). 113 
 
 been written for the violin as far as the melodic part 
 goes. It is a complete contrast to, and certainly a 
 refinement of the rolling organ toccata style of Em. 
 Each (his contemporary), and his father, Sebastian 
 Bach, and is one of the signs of progress towards 
 modern pianoforte music. 
 
 Perhaps we may follow the variations in this instance 
 and note how in the " First Variation " the melody is 
 disguised in smoothly-running and continuous pas- 
 sages. 
 
 In the " Second Variation " the melody is intact and 
 the harmony practically the same, but a running bass 
 is inserted. 
 
 The "Third Variation" shows considerably altered 
 harmonies and melody, and the analogy is preserved 
 only through the rhythm and short four-note phrases. 
 
 Variations on an Original Theme in F. 
 Variation No. 4. Theme in the Bass. • 
 
 :&;a-|=s:^=Iz:^^z:|:zq^4r:pn-|=TjTi= 
 
 It^-^^^--^- 
 
 — -^ — ^j ^^i -— r i^BM^- 
 
 ;;^s=3- 
 
 i^^i^ll^^i 
 
 i5!=('— 
 
 ^^J^=|_^^| 
 
114 Conversations on the Pianoforte Classics. 
 
 The "Fourth" has the theme in the bass, while in 
 the " Fifth '' the mode is changed : the theme is put 
 into the minor mode and both harmonies and melody 
 considerably altered. 
 
 In No. 6 the theme is almost lost sight of in the 
 florid and melodic passage work and the connection is 
 only kept by means of the harmonies. 
 
 You will see now what ingenuity may be shown in 
 the variation form. Indeed, both intellect and genius 
 must here meet on common ground if the result is to 
 be effective. 
 
 ■6 4 4 
 
 The next two sets of variations are dated 1773 — Ave 
 years later. One in the minuet theme, "Mio caro 
 "MioCaro Adone," is very free as regards disposition 
 
 Adone" of melodic outline, but not otherwise 
 Variations, specially interesting. The other— Fischer's 
 " Minuet in C " — was performed by him in the next year 
 in Munich and in Paris four years later still, and there- 
 fore merits special attention. In this set the style is 
 Variations simple and contains nothing special of note 
 on Fisclier's except that the second variation contains 
 
 Minuet, gome imitation, while the ninth with its 
 crossing of hands, and the tenth with its Clementi 
 octave features are technically interesting. The anti- 
 final adagio movement appears in this and later works. 
 Here and in the next set, however, it is not meritorious 
 in any way. 
 
Mozart (1756-gi). 
 
 Variations on Fischer's Minuet in C. 
 
 115 
 
 Variation No £, 
 
 
 1^^^ 
 
 1=1: 
 
 
 -2^- 
 
 
 Variation No. 10. 
 
 con Juoco 
 
 %^^^A^. 
 
 t^ 
 
 ;=^- 
 
 --n-j- 
 
 •— ^ 
 
 
 
 
 :e^: 
 
ii6 Conversations on the Pianoforte Classics. 
 
 The later variations, "Je suis Lindor" (1780), were 
 
 1780, "Je played by Mozart at Leipzig. These are 
 
 Suis Lindor" mostly obvious and simple, but the first, 
 
 Variations, -^ith its curious chromatic appoggiaturas, 
 
 and the seventh for its free technique are interesting. 
 
 The variations on "Lison Dormait" though quite 
 
 ^rj,jQ clear are (taken quickly) interesting and 
 
 "Lison melodious. The most notable are the very 
 
 Dormait" elaborate adagio movement which warbles 
 
 Variations. ^^^^ ^^ ^^^ florid style for some time, and 
 
 the cadenza in the first variation. 
 
 Cadenza in "Lison dormait" Variations. 
 
 Allegro;*; ;p; f.;p; .^_,. 
 
 #-•- 
 
 G-a: 
 
 iS— J 
 
 
 J J: 
 
 •-• 
 
 Il_q_^ — I ^ — — • — h-^i*' — tiJ-'S— 
 
Mozart (1^56-91). 117 
 
 ) 
 
 
 M= ^^^== m^m^ 
 
 
 The cadenza, in this case preceded by a coda, affords 
 a good opportunity for showing technique. Varia- 
 tions containing these cadenzas were apparently in- 
 tended for the concert room. There are specimens in 
 the sets of "Salve tu Domine" (1782) and in "Come 
 un' Agnello" and "Unser Dummer Pobel Meint," etc. 
 
 <S. tfe cfe 
 
 Not to go further into details the set on the latter 
 
 theme with its interesting adagio, is attractive, and 
 
 Music for there are other points of interest in some of 
 
 tlie " Long the other sets though some were apparently 
 
 Ears." slightly put together for the popular ear of 
 
 the period — or for "the long ears" as Papa Mozart 
 
 termed them. The "Duet Variations in G" on an 
 
 jjyg|. original and very attractive theme, while 
 
 Variations not showing any particular ingenuity, are 
 
 ^^ interesting and worthy of note. Altogether 
 
 there is much to interest one in the variations if we 
 
 Mozart — 2 
 
Ii8 Conversations on the Pianoforte Classics. 
 
 discriminate and select what is best from a high 
 standpoint. 
 
 The remark as to compositions for the "long ears" 
 applies just as much, if not indeed much more, to some 
 of Mozart's sonatas. Some of them were intended for 
 educational purposes and consequently not much 
 worked out. So that when we come to pick out what 
 is "real gold" the amount seems to be but little in 
 comparison with the whole. 
 
 4 <fe 
 
 In 1777 Mozart when writing to his father refers to 
 a public concert given by him thus: "Then I played 
 alone the last Sonata in D, then my Concerto in B 
 flat, then a Fugue in C minor, and a splendid Sonata 
 in C major, "out of my own head, with a rondo at the 
 end " ; meaning that the work was not yet written down. 
 
 You will be interested in this Sonata in C with its 
 bold and characteristic first theme. 
 
 Sonata, 1777. 
 
 
Mozart (ij^d-gi). 119 
 
 
 
 ^.•-1^ j,= 
 
 
 The first movement is piquant, well con- 
 
 . n trasted and well worked out and interest- 
 in C, , 
 
 ing, but strikes us as being very thin like 
 the Scarlatti and Emanuel Bach models, much of it 
 being in two parts only. The slow movement does 
 not promise well but improves later. The rondo while 
 very merry, is very light. 
 
 The work undoubtedly reflects the popular taste at 
 the time. 
 
 ■fe 4 <fe 
 
 The admittedly three finest sonatas of Mozart are 
 respectively, those in A minor (1778), C minor (1784) 
 and F (1778). 
 
 ™, To myself the first and last movements 
 
 A minor of the A minor do not appeal as of interest, 
 
 Sonata, since the passage, or technical work, does 
 
 ■'■'^^' not seem to have any depth of meaning 
 
 behind it. 
 
120 Conversations on the Pianoforte Classics. 
 
 A minor Sonata 
 Andante cantabile ^ "^ — "^ 
 
 
 SEv^: 
 
 -lz±- 
 
 
 -F= 
 
 The slow movement (and we might remember that 
 it is in his slow movements that Mozart excels in his 
 sonatas) is graceful and sincere. Its florid melodic 
 ornamentation is typical of most of his adagios and 
 andantes. Mozart himself likened it to a "pretty and 
 charming young girl friend of thirteen."* He said 
 indeed that he intended "to make it exactly like Mile. 
 Rose herself." 
 
 These slow movements may be divided into two 
 classes, those in which, like the latter, ornamental 
 elaboration is pre-eminent, and those in which a 
 simpler and more lyrical expression is combined. 
 
 <S 4 "S 
 
 . , F major Sonata, 1788 
 
 Allegro 
 
 gsEfil^^lfgl^l 
 
 The F major Sonata of 1788 is noteworthy for 
 its use of double or invertible counterpoint by which 
 
 * The daughter of Capellmeister Cannabich. 
 
Mozart (ly^d-gi). 121 
 
 F major ^ melody and its accompaniment change 
 Sonata, places and are inverted in passing through 
 1788. keys. The sonata is noteworthy as furnish- 
 ing a model for Beethoven, who made very large use 
 of this particular device and who far surpassed Mozart 
 in its use. 
 
 So far we can only commend from the two sonatas, 
 the slow movement of the A minor. 
 
 "S cfe >& 
 
 Regarding the C m.inor Sonata we cannot do better 
 than quote Mr. Shedlock from his "History of the 
 C minor Pianoforte Sonata." He says : " This C 
 Sonata, minor Sonata is remarkable for its origin- 
 1784. ality, simplicity and unity : Mozart pos- 
 sessed qualities which mark creative art of the highest 
 kind." 
 
 In writing some of his pianoforte sonatas he had 
 the public or pupils more or less in his mind : and 
 though he did not become a mere sonata-maker like 
 some of his contemporaries, his whole soul was not 
 always in his work : of this the inequalities in his 
 music give evidence. In some movements (especially 
 the closing ones) of the sonatas, the subject matter is 
 often trivial, and the passage-writing commonplace. 
 
 The Sonata in C minor, to our thinking, is the only 
 one in which he was entirely absorbed in his art : the 
 only one in which the ideal is never marred by the 
 real. The last movement is no mere rondo but one 
 
122 Conversations on the Pianoforte Classics. 
 
 which stands in close relationship to the opening 
 allegro : they both have the same tragic spirit : both 
 seem the outpouring of a soul battling with fate. 
 
 Taking the first movement we notice its pervadmg 
 element of stern strength and great earnestness, re- 
 lieved now and then by great tenderness. 
 
 C minor Sonata 
 Molto Allegro t- _ -•- i . 
 
 l-_hz '^ .-^=-J-J 
 
 I 
 
 
 / . - P 
 
 
 The tender and expressive Adagio theme is like 
 that in the A minor Sonata, freely ornamented, so 
 much so, that in the second subject, so strongly pro- 
 phetic of Beethoven in spirit, it slips into the virtuoso 
 style, and might almost from its ambitious style have 
 been intended for a concerto. 
 
Mozart (ly^d-gi). 123 
 
 In the final Allegro Assai the sentiment is that of 
 biting ironic humour, pungent sarcasm and general 
 out-of-joint feeling. The second subject in the rela- 
 tive major gives us, however, relief in a happy melody. 
 
 The whole work is most important as a work of art 
 itself, and is in direct line with Beethoven. This 
 sonata probably formed the direct model for the first 
 of the sonatas of Beethoven which we recognise as 
 really characteristic of him, namely, his Op. 10, the 
 same key, C minor. 
 
 <6 4 ■£ 
 
 Before we leave the sonatas we must not forget the 
 
 C minor ^ minor Fantasia, written in 1785, the year 
 Fantasia, after the C minor Sonata, and generally 
 1785. linked with it from its almost similar 
 spirit. 
 
 The opening adagio is reflective and serious in tone 
 and modulates freely, almost fantastically, from key 
 to key, while its second theme is sincere and expressive. 
 The ensuing allegro is mostly chromatic in style. 
 
 In the andantino Mozart is resigned to his fate, but 
 the work closes with a rousing echo of the allegro and 
 a return of the more philosophic ahd reflective first 
 theme. 
 
 Special notice might be given to the charming slow 
 movements in the simpler lyrical style from the C major 
 Sonata, 1778 (the Andante Cantabile in F, 3-4 time) 
 and from the B flat Sonata, 4-4 time (Andante Canta- 
 
124 Conversations on the Pianoforte Classics. 
 
 bile in E flat). The beautiful restful expression and 
 quiet lyrical charm of the latter is particularly 
 acceptable. 
 
 From an educational point of view the movements 
 specially mentioned, the rondo from the other (2-4) 
 B flat Sonata, and the F major Sonata (No. 14, Bos- 
 worth Ed.) are particularly useful as well as inter- 
 esting. 
 
 <fe <fe "4 
 
 We now come to Mozart's duet works. 
 
 It has already been recounted how Mozart, in 1765, 
 though a boy of nine only, was probably the first one 
 who wrote duets, though Mr. Shedlock has similarly 
 suggested a work (without date) by Jno. Christian, the 
 London Bach. 
 
 Young Mozart and his sister were in London for some 
 
 fifteen months prior to July, 1765, and a letter of their 
 
 father states that Wolfgang composed his 
 
 "' first piece for four hands in London. " Till 
 
 then," he says, ''nobody had written a four-hand 
 
 sonata." 
 
 By 1783, according to a review of Haydn's "Master 
 and Scholar" Duet Variations (1778), works for two 
 performers on one instrument had already become very 
 fashionable, and many composers had already written 
 
 in that form. 
 
 ■4 « <4 
 
 You willcalltomind that we have only one acceptable 
 
Mozart (iy§6-gi). 125 
 
 solo sonata of Mozart, judged as a whole by the highest 
 
 Mozart's standards, and this one sonata "got itself 
 
 Duet written" when Mozart was in a particularly 
 
 Sonatas, uncompromising mood. Fortunately, we are 
 
 able to look with much greater pleasure to Mozart's 
 
 Duet Sonatas, which are charming works in every way, 
 
 mostly light-hearted and happy, showing us the best 
 
 side of the composer's nature. 
 
 Mozart's work seems to gain in duet form, it gains 
 in massiveness, and is consequently free from that 
 thinness characteristic of much of his solo work. Then 
 again he seems to have adopted a different style more 
 in keeping with the fully extended effects which we 
 hear from an orchestra in symphonic or overture works. 
 Especially is this so in the first two duet Sonatas in D 
 (1781) and B flat (1780). 
 
 No. I is very bright and spirited yet simple in style 
 with a characteristic lyric andante. The vigorous No. 
 2 shows Mozart at his best. The orchestral 
 „ + • -p merry final presto is preceded by a very 
 expressive adagio, also in lyric style. 
 Sonata No. 3 in F minor is usually termed a fantasia 
 and consists of a short adagio, an allegro and the 
 adagio again — the whole is very much in the style of 
 one of Handel's overtures, and is Handelian in spirit, 
 fugal and imitative in style, and curiously contains 
 portions reminding one of the " Messiah " chorus, " Lift 
 up your Heads." No. 5 in F major also shows simi- 
 
126 Conversations on the Pianoforte Classics. 
 
 Allegro 
 
 Duet Sonata, No. 3, in F minor. 
 
 I F^ I FiJ. 
 
 
 
 -•-^-# 
 
 i=^-fkr_ 
 
 
 u 
 
 
 I P 1/ 1 / 
 
 i 
 
 ^^ 
 
 
 
 .^ ^»* =3 ^^ M-t-^ ^ 
 
 "J . J I 
 
 ^^ I II ,- -^ I 1^^ 
 
 ^- ! I ! ■ hJ. I .'I 
 
 - — ^^ ■ 
 
 lar influence in the running contrapuntal bass of the 
 first movement at the end of the "Messiah'' chorus, 
 "All we like Sheep have gone astray." 
 
 The introductory adagio in this work is serious and 
 
Mozart (1756-gi). 127 
 
 lofty in style. The allegro di molto is very energetic 
 and the various themes are well contrasted, a sweet ex- 
 pressive cantabile theme intervening The whole 
 movement combines deep thought and energy and is 
 full of interest. 
 
 <fe tfe tS 
 
 The Handelian style in the above is hardly perhaps 
 
 to be wondered at seeing that Mozart was so much 
 
 interested in Handel's work, that he wrote 
 
 ., „ ^ the modern orchestral accompaniments for 
 
 lofluezice. 
 
 the " Messiah " now always used in the per- 
 formance of that work as well as parts also for other 
 works of Handel. To the same influence is to be 
 ascribed the overture or unfinished suite confessedly 
 " in the style of Handel " in which the likeness to his 
 model is very apparent in the grave and the fugued or 
 imitative allegro as well as the gigue in the same style. 
 Mozart, as a contrapuntist takes high rank. His 
 contrapuntal work in the "Jupiter" Symphony, the 
 "Magic Flute" overture, his transposition of five of 
 Bach's fugues from the "Forty-eight" for string quar- 
 tet show his mastery and interest in this branch. 
 
 4 =& £& 
 
 The sustained andante in the duet Sonata in F is in 
 sonata form and is full of expressive melody and in- 
 teresting throughout. Towards the end it develops 
 
I2S Conversations on the Pianoforte Classics. 
 
 into elaborate ornamentation. The final rondo, like 
 the allegro, is bright and cheerful, very busy, full of 
 youthful, sprightly vigouir. Some linked imitation 
 intervenes and forms a grateful episode. 
 
 Duet Sonata in F 
 
 
 Andante ^w<i i ,__ ^ --^ 
 
 
 L^ ^'i 
 
 
 ;l^E^^i=li=ilSf 
 
 
 
 The Sonata No. 4 in C is very emphatic and spirited, 
 
 commencing in a firm and bold manner. The andante 
 
 jjygj; is in ornamental style with florid broken 
 
 Sonata, chord work. The final allegretto is very 
 No 4 in 0. innocent and gay and makes an interesting 
 ending. 
 
 Allegretto 
 
 Diiet Sonata in C. 
 
 i 1^ '^ '_J, 
 
 ;"^:i»-:.=Irfp-ji3^ 
 
 H^l^g 
 
 
 :r 
 
 M^^^l 
 
 p lioZce i T \T 
 
 1j Li ^Li lI-L.' 
 
 ^3 
 
 ri-_^ 
 
 ■zl- 
 
 -qr 
 
 -2^: 
 
Mozart (1^56-91). 129 
 
 We have already mentioned the interesting duet 
 Variations in G. Other two works there are in duet 
 
 Duet Andante with Variations. 
 Tema iTTI ;. R 'plS: '1-^^^ 
 
 
 -ft- ft- •- 
 
 -=i 
 
 {^Mt^'^^^E^:^^^ 
 
 •-=1- 
 
 ^ > 
 
 form which were arranged by Mozart himself, having 
 been originally intended for a mechanical organ. 
 
 Of these, the Fantasia in F minor is in Mozart's 
 grandest manner. 
 
 A lofty allegro in imitative style is succeeded by a 
 
 beautiful andante breathing a sincere almost religious 
 
 Duet expression, and is followed again by the 
 
 Fanbasia in allegro. This work, from its suitability 
 
 F minor, f q,- ^jjg organ, is probably more heard at 
 organ recitals than elsewhere, and is always impressive 
 in this form. 
 
 4 <4 cS 
 
 The second, or Fugue in G minor is quite in organ 
 style and in serious mood. 
 
 The C minor Fugue for two pianos is more pianistic 
 Fugue and ^'^'^ more than usually effective for that 
 Sonata for style of composition, especially as it is cast 
 
 2 Pianos, in dignified mould. 
 
130 Conversations on the Pianoforte Classics. 
 
 The Sonata in D for two pianos is on the whole a 
 fine work, though not in any way deep. The first 
 movement is busy and energetic and has something of 
 the orchestral manner, the andante pleasant and cheer- 
 ful, while the final allegro molto is very merry and 
 piquant. 
 
 Sonata in D for 2 Pianos. 
 A.Iegro conspirito 
 J2- 
 
 
 
 
 ^zi= 
 
 4 <S cS 
 
 Regarding the Fantasia and Fugue in C we may note 
 
 that the fantasia is nol; remarkable except for its dis- 
 
 Fantasia jointed, rhapsodical style, but that the 
 
 and Fugue succeeding fugue is another example of the 
 
 *^ ^- influence of Handel. It is not particularly 
 
Mozart (iye^6-gi). 131 
 
 pianistic since it might just as well have been written, 
 if not more appropriately, for string quartet or organ, 
 but it runs very smoothly, and what is better is natural 
 and melodious throughout. 
 
 Mozart, writing in the spring of 1782, says: "That 
 this fugue has seen the light you are indebted to my 
 Constance" (afterwards his wife). "Hearing me at 
 this time frequently play fugues out of my head, she 
 inquired if I had ever written any, and upon my 
 answering ' No ' absolutely scolded me for having neg- 
 lected the most beautiful and scientifi-c part of music : 
 nor did she give m.e any rest until I had written her a 
 fugue. This is the origin of the one now sent. I have 
 purposely written andante maestoso above it, in order 
 that it may not be played fast, for if a fugue be not 
 played rather slowly, the entries of the subject lose 
 clearness and distinctness, and the effect is injured, if 
 not destroyed. When I have time and opportunity I 
 intend to write five others." 
 
 You will notice that the fugue is very compact, the 
 entries mostly following closely on each other. It 
 should be played, like all fugues, more or less with a 
 singing tone. 
 
 One of the best of Mozart's pianoforte works is the 
 Fantasia in separate Fantasia in C minor, written in 
 
 minor, 1782, as distinguished from the C minor 
 1782. Fantasia, written in 1785, and usually 
 linked with the C minor Sonata. 
 
132 Conversations en the Pianoforte Classics. 
 
 Adagio 
 
 Fantasia in C minor. 
 
 "ezBE 
 
 ! — 3-i--*=:^3giate:Jb-r::ir-tr: 
 
 H_i2 
 
 :a5gd3=*'=r^=3-3=z=;=z3?S-j=:3n:icB- 
 
 
 C: \.,rr^-m -q r L._ 1^ : — 1-| 
 
 You know that the word " fantasia " means the same 
 as our word " fantasy," signifying freak or whim, and 
 hence this style of composition is not subject to any 
 particular laws as to its form or style of composition. 
 This "fantasia" has all the appearance of an extem- 
 porisation. It is very free in style yet poetical. Its 
 technique suggests the influence of Clementi, whom he 
 had met in the previous year at the memorable contest 
 at which the young Italian played his toccata. 
 
 It is certainly a masterly composition in its way. 
 Its meditative theme is broken by flashes of brilliance. 
 You will note the grandiose second theme with its pro- 
 gression of double thirds, which should not at all be 
 played in a mechanical fashion. 
 
 The Fantasia in D minor and Rondo in D, though 
 characteristic, are slight and educational in style. 
 
 4 <S 4 
 
 A fine Adagio in B minor, written in 1788, next 
 claims our attention. Its serious and pathetic style, 
 
Mozart (1756-gi). 
 
 133 
 
 lofty melody and unusually interesting 
 
 '^**^^° ^" ^ harmonies, full of cloying diminished 
 minor. , , ,. . 
 
 sevenths and pleadmg appoggiaturas m sus- 
 pended discords, at once strike the attention, while its 
 earnestness and depth of feeling remind one of much 
 that is most characteristic of Beethoven. 
 
 Adagio in B minor. 
 
 
 s/ 
 
 s/ 
 
 _*. .*. 
 
 ^ :S- 
 
 l. it. '-t. 
 
 g^lii%?^=^i^i 
 
 « -6 ■!& 
 
 Another fine work and one originally intended for 
 performance by a musical box is the Rondo in 
 BondoinF F> written in 1791, the year of his death. 
 
 and A The style is naturally florid and orna- 
 
 minor. mental, but it is full, nevertheless, of a 
 charm all its own. 
 
 The quaint, refined and poetical Rondo in A minor 
 also contains a good deal of delicate embroidery or 
 arabesque work, in which Mozart is so easily a master. 
 
 <£ ife ■& 
 
 Before treating of Mozart's concertos, we might re- 
 mind you of the virtuoso side of his career. This, as 
 
 Mozart — 3 
 
134 Conversations on the Pianoforte Classics. 
 
 you know, began very early when Mozart 
 ozar as g^ppga^^g^j before the public as a prodigy, 
 and his connection with concertos began 
 equally early. At six years of age, when about to play 
 one of Wagenseil's concertos on the harpsichord before 
 the Emperor Francis at Munich, he confidently 
 addressed the composer in a frank, childlike manner 
 thus : " I am to play one of your concertos. You must 
 turn over for me." 
 
 A year later we find him (at Frankfort) playing 
 concertos not only on the harpsichord but also on the 
 violin, also improvising "as long as anyone cared to 
 listen" to him. In London a concert was announced 
 to be given in Hickford's Rooms, Brewer Street, Golden 
 Square, in May, 1765, "for the benefit of Miss Mozart, 
 of thirteen, and Master Mozart, of eight years of age, 
 prodigies of nature, a concert of music with all the 
 overtures of this little boy's composition." 
 
 Young Mozart also extemporised and played at first 
 sight before Queen Charlotte. 
 
 Five years later, in 1770, at Mantua, the programme is 
 announced thus : " A symphony of his own composi- 
 tion, a clavier-concerto, which will be handed to him 
 and which he will immediately play at first sight : a 
 sonata handed to him in like manner, which he will 
 provide with variations, and afterwards repeat in 
 another key.'' It also included the extemporisation of 
 a sonata for clavichord on a subject given him by the 
 
Mozart (1756-gi). 135 
 
 master of the violins and ''a strict fugue on a theme 
 to be selected, which he will improvise on the harpsi- 
 chord" — no mean task for the cleverest executant and 
 composer. Mozart's tours in Italy, where he heard the 
 most eminent Italian singers, and his study of Italian 
 opera had a strong influence on him, hence his declara- 
 tion : " Melody is the essence of music." His demand 
 that a pianist should always possess a quiet, steady 
 hand and the power of singing the melody still applies. 
 In his own case the grace and manner, as Clementi 
 declared, of his playing, the quiet gliding style, com- 
 bined with his intellectuality as a composer, made his 
 playing particularly attractive. His early devotion to 
 the delicate harpsichord doubtless affected the style of 
 his early works, but after 1777 he seems to have played 
 on the more powerful Slein pianoforte. His mother 
 wrote six years later: "Wolfgang plays quite other- 
 wise than when in Salzburg, for here are only piano- 
 fortes " She mentions also that he surpassed the rival 
 virtuosos, Becker and Schubert, "in beauty and taste 
 
 and delicacy." 
 
 4 <4 <fe 
 
 Of the concertos then in vogue it should be said 
 
 that the compositions of Wagenseil, Sterkel, Kozeluch 
 
 and others occupied the field, but that it 
 
 The Early ^^^ reserved for Mozart to imitate and 
 
 Concertos. , , , , 1 1 ^1 
 
 perfect what we now understand by the 
 
 modern concerto. 
 
136 Conversations on the Pianoforte Classics. 
 
 The word "concerto" from time to time has had dif- 
 ferent meanings, and the German equivalent, concert, 
 still signifi.es a concert and a concerto. The word con- 
 certo came from the Italian concertare, "to sing 
 together," and one of the oldest uses of the word con- 
 certi was in which it was applied to sacred works for 
 two, three or four voices and organ. The word was 
 also applied to instrumenta,l concerted music, and in 
 1587 the word "concerto" was used by Scipio Bar- 
 gaglia as signifying a work for solo instrument with 
 accompaniment. 
 
 ■4 <fe 14 
 
 Torelli (1651-1708) introduced the idea of the Con- 
 certo Grosse (having several solo instruments) of which 
 Corelli (for strings) and Bach wrote prominent ex- 
 amples. Bach, as I have already described, wrote con- 
 certos for two, three and even four solo claviers. 
 
 These old-time instrumental concertos were, how- 
 ever, rather of the nature of chamber music as meant 
 for the home circle, than for the concert hall with its 
 full orchestra. The accompaniment was generally 
 limited to strings so that it could be played by a string 
 quartet, and the harpsichord parts were moi^e or less 
 complete in themselves, and could, if desired, be used 
 without the strings. 
 
 In the modern concerto the solo part is only a part 
 of the whole. The form also was quite different from 
 
Mozart (ly^d-c)!). 137 
 
 that of the old concertos. The form of the latter was 
 more or less that of a suite; that is, a collection of 
 various movements, not necessarily of old dance forms 
 (though they are used occasionally) but, like the old 
 sonatas, of no determined form. 
 
 * ■% <4 
 
 On the other hand, the modern concerto, like the 
 Modern symphony and string quartet and trio, is 
 Concerto essentially founded on the modern sonata 
 
 Form. form. 
 
 In the Mozart concertos the first movement begins the 
 exposition (in condensed form) with the orchestra, 
 which ends so as to allow the soloist to also have his 
 say. In doing this he repeats the exposition generally 
 with extensions and modifications. Another tutti, or 
 full orchestral part, leads to the development section 
 for the soloist, after which the orchestra leads the way 
 with the recapitulation in a condensed form. This 
 portion is also taken up by the soloist, and a short final 
 tutti or combined effort closes the movement. In this 
 last tutti or combined effort a pause is usually made on 
 a 6-4 chord to enable the soloist to show off his technical 
 power in a cadenza, which later concludes with a long 
 shake on a chord of the dominant seventh in order to 
 enable the orchestra to come in again for the finale. 
 
 <fe 4 « 
 This cadenza must be founded on the themes and in 
 
138 Conversations on the Pianoforte Classics. 
 
 The the style of the technique employed so that 
 Cadenza, it may be homogenous. 
 
 The cadenza was occasionally written out, and 
 Mozart himself left a collection of thirty-five cadenzas 
 written for his own concertos, presumably for the use 
 of those unable to extemporise. Modern composers 
 have also tried their hand in a similar way for us with 
 various concertos of Mozart, Beethoven and others. 
 
 The slow movement of a modern concerto resembles 
 that of a sonata with the solo part more florid than 
 usual, and with occasionally a cadenza. The finale is 
 generally in the form of a rondo. 
 
 <6 <fe 4 
 
 Of Mozart's twenty-seven concertos the first four 
 were written at the age of eleven and are immature to 
 Mozart's ^°™^ extent, but from No. 5 onwards, 
 Twenty- written six years later, we have a succession 
 seven of works of great artistic charm. This No. 
 ^' 5, which became a favourite, Mozart wrote a 
 new rondo for, and sending it home, asked for its pro- 
 tection as if it were a jewel. He writes : " I have 
 written it especially for myself and only my dear sister 
 may play it after me." No. 6 has a beautiful slow 
 movement. No. 7, in F, is for three pianos, and was 
 written for the three Countesses Lodrav. No. 9, in E 
 flat, is for two pianos, and was written after he settled 
 in Vienna. This work has recently been very succes- 
 
Mozart (ly 56-91). 139 
 
 fully revived in Britain. We have not space to 
 The Peters ^^^^^il ^^1 of the remaining seventeen con- 
 Edition certos written in Vienna during that short, 
 Selection, crowded last ten years of his life, but we 
 might find room for a few remarks on a collection of 
 the best seven of these, as in the Peters Edition volume. 
 
 4 iS 4 
 
 Of these concertos, No. i in B flat has a beautiful 
 slow movement with variations, full of a fervent, sin- 
 cere expression, and the finale is full of good humour 
 and happiness — a great contrast to the pessimism of 
 the "graveyard" school of the present day, as it has 
 been termed. Here the old title "Musica Divina" — 
 divine music — is not out of place. 
 
 <fe tfe <fe 
 
 No. 2, in D minor, is the most popular of all the 
 
 concertos — a favourite of Beethoven's— and 
 
 mmor ^^ which is forecasted much of the spirit of 
 Concerto. 
 
 the latter master. 
 
 You will note the opening piano solo, with its quiet, 
 meditative introductory message, one which is soon 
 submerged, however, in the orchestral tuttis. A neatly- 
 phrased second " subject " in the relative major follows, 
 in which the orchestra constantly intervenes with phrase 
 and dialogue. The piano now launches into technical 
 passage work, etc., orchestra and soloist keeping up, 
 
140 Conversations on the Pianoforte Classics. 
 
 as it were, the conversation, now alternate, now together 
 The orchestra finishes, as it began, the movement. 
 
 The lovely, slow romanza movement in B flat has a 
 more energetic episode in the relative minor, and alto- 
 gether it is one of the gems of modern music. 
 
 Concerto in D minor. 
 Romanza. Piano Solo 
 
 fSltHi^^l 
 
 The restless final prestissimo in D minor forms a 
 great contrast to the romanza, but there are contrasts 
 within contrasts, and ere long we have another lovely 
 and light-hearted melody in the relative major by way 
 of episode; more interesting dialogue follows when 
 the melody is brought down into the relative minor, 
 and then triumphantly it appears in D major, making 
 a brilliant and happy finish. You will notice that the 
 cadenzas come towards the end of the first and final 
 movements. 
 
Mozart (1756-gi). 141 
 
 No. 3 in this collection is the Concerto in C, written 
 C major ^7^S- The first movement is dignified and 
 Concerto, effective, always well worked out, and 
 
 '°^' happily contrasted in its themes. 
 The slow movement is really a pretty, romantic kind 
 of serenade, with its sustained melody and delicate 
 accompaniment, while the final allegro is very sprightly 
 and lightfooted, or, shall we say, fairylike in char- 
 acter. 
 
 « 4 4 
 
 Concerto No. 4, in E flat, is written in the grand 
 manner and is serious and dignified as well as melo- 
 E flat dious. It may be considered as a fore- 
 Concerto, runner and as preparatory to the great E 
 flat Concerto (the "Emperor") of Beethoven. 
 
 A grave and pathetic, but also attractive andante 
 and a very light-hearted rondo complete the work. 
 The latter is thin, but not* trivial, and has a charming 
 andante episode. 
 
 <4 tfe <s 
 
 Concerto No. 5 of this volume is more reflective and 
 perhaps not so inspired, but the last movement is good 
 practice. 
 
 <6 4 <& 
 
 No. 6, in C minor, in its first movement is perhaps 
 almost too serious, and reminds one of the fantasia 
 
142 Conversations on the Pianoforte Classics. 
 
 C minor associated with the C minor Sonata, but 
 Concerto, the first movement is in sustained, lofty 
 style. 
 
 Concerto in C minor. Extract from 1 arghetto sliowing Orchestral part. 
 
 r\ 
 
 S^^lj^^^f^f 
 
 :5_2-=r 
 
 — F F - 
 
 rp-pi 
 
 
 strings p 
 
 
 S^^Z 
 
 ■If--12- 
 
 
 
 iS 
 
 Oboe 
 
 Clar. 
 
 Ft,— ^1— J— ^-^-.»- 
 
 .— -i=:iri!.-«'i-t 
 
 1 
 
 :^g^:^ 
 
 fi^i 
 
 
 
 tH' 
 
 ^! 
 
Mozart (iy$6-gi). 143 
 
 u / 
 
 
 
 ^H 
 
 A charmingly simple and dignified melody com- 
 mences in the larghetto, and soon appears in varied 
 form. This movement is strongly prophetic of Schu- 
 bert, while the technique of the whole concerto is won- 
 derfully free without being at all difficult. The final 
 allegretto consists of variations on a ballad or folk- 
 song-like air and is also a very charming movement. 
 
 The No. 7 Concerto, in D, of 1778 has been termed 
 Coronation the "Coronation" Concerto, although an 
 
 Concerto, earlier one in F was performed by the com- 
 poser at the coronation of the Emperor Leopold II. 
 
 The present work is, on the whole, somewhat light, 
 the first movement being the best, being bright and 
 cheerful and not without some of the pomp appropriate 
 to the occasion. A pleasant and joyous larghetto and 
 
144 Conversations on the Pianoforte Classics. 
 
 a bustling and bright final allegretto complete the 
 work. 
 
 <S <6 4 
 
 Concerning the Triple Concerto in F, composed at 
 
 Salzburg in 1776 — its characteristics lay, not as might 
 
 Triple ^^ expected, in massing of tone, but in 
 
 Concerto delicate filagree work, the solo instruments 
 
 i'l ^- intertwining in dialogue with each other 
 
 and with the members of the orchestra. 
 
 The soloists enter with the theme in unison, as 
 follows : 
 
 ( 
 
 Tilple Concerto in F. 
 
 .M. -ft. 
 
 
 
 1 I 
 
 After which the imitative or dialogue style soon fol- 
 lows. Here is an example of the latter : 
 
xiipie Cuncsrto. 
 
 Tir^t 
 Piano 
 
 Second 
 Piano 
 
 Third 
 Piano 
 
 First 
 
 Fijno 
 
 Second 
 Piano 
 
 Third 
 P.'ano 
 
 i 
 
 ■9 P — F- 
 
 ^•^ 
 
 
 7^^=±'~z 
 
 
 m 
 
 :}; 
 
 
 
 ■^^"^S^- 
 
 idS 
 
 :&=»=3- 
 
 
 i 
 
 r^WgteggJM^g^}^ 
 
 ^&- 
 
 i^ 
 
 
 
 
 ff— ^ 
 
 
 -P 
 
 i 
 
 ■^^ 
 
 
 ^i 
 
 r-r- 
 
 iS 
 
146 Conversations on the Pianoforte Classics. 
 
 A cadenza is provided in imitative style in which 
 all three soloists take part, as well as in the expressive 
 Adagio in B flat. 
 
 In the dainty antique Rondo in F, the first two 
 pianos enter alone with the Tempo di Minuetto theme. 
 
 cfe 4 -fe 
 
 Mozart's Concerto in E flat, for two pianos, is 
 written in his own graceful and sympa- 
 
 Concerto 
 for 2 Pianos. 
 
 thetic manner. The exposition, introduced, 
 as usual, by the orchestra, is based on the 
 following bold theme : 
 
 Concerto in E flat for 2 Pianos. 
 
 i 
 
 n^i^g^^ip 
 
 in unison. The pianoforte soloists then begin together 
 with a shake and a flourish, after which the first piano 
 leads in the theme : 
 
 Concerto in E flat for 2 Pianos. 
 
 First Piano. 
 
 I 
 
 
 
 .-M-* 
 
 ^P 
 
 -s^- 
 
 li¥^ 
 
 -r>"=r-F- 
 
. Mozart (ly^d-gi). 147 
 
 , -^ — I— J 1 1 T— #- P Bj- -W- -•- 
 
 -t? F— ^ ->— — u- — ^i- r-E. -h— r- ^-— h -| T 
 
 ( 
 
 zA.-—iszz^. 
 
 
 :S=— E=:=r--.- 
 
 -r 
 
 The second piano repeats it an octave lower, and the 
 work proceeds with the usual dialogue and imitative 
 passages in sequence, solo and accompaniment alter- 
 nating with responses or leading themes from the or- 
 chestra. An andante in more ornamental style and a 
 light-hearted rondo complete the work. 
 
 ■fe <s <s 
 
 Speaking generally, the keynote to the concertos of 
 Mozart is simplicity or transparency of feeling, united 
 Dharacteris- ^^^'^ abundant and charming melody. The 
 
 tics of technique is of the Clementi order and not 
 
 Mozart's difficult, and perhaps one reason why they 
 
 Concertos. ^^^ jjq^. performed so often as they should 
 
 be is that they do not pander to the virtuoso's thirst 
 
 for the showy and the astounding. 
 
 They were also a great advance upon former con- 
 certos, since, in them, the soloist not only took his 
 proper place as the leading part, but worked cordially 
 with the orchestra in contributing to the whole. 
 
 Formerly the orchestra was quite subordinate, but 
 
148 Conversations on the Pianoforte Classics. 
 
 with Mozart it takes quite an important part, and by 
 means of varied instrumental colouring and its share 
 in the working-out of the 'themes, it not only affords 
 contrasts, but is a means of great delight in itself. 
 
 Nevertheless the orchestration is quite simple com- 
 pared with what is expected nowadays. In the earlier 
 ones only oboes and horns are used beside strings. 
 Bassoons appear in the tenth, trumpets and drums in 
 addition in the thirteenth, in C, and flutes in the six- 
 teenth, while clarinets appear, but only instead of 
 oboes, in Nos. 22, 23 and 24. 
 
 The concert rondo with orchestra can only be es- 
 teemed as a jovial but trifling jeu d' esprit. 
 
 4 <& 4 
 
 We have referred slightly to incidents in Mozart's life, 
 
 one, which as a whole, will be found most interesting. 
 
 His relations with the Archbishop, who 
 
 , _ . behaved in a most brutal manner, form one 
 cal Features. 
 
 episode. Another was his romantic marriage 
 to Constance Weber, one of the large family of M. Weber, 
 the prompter and theatrical copyist, who, it seems, was 
 the uncle of Weber, the celebrated composer. Much of 
 this and his daily life in Mannheim, Vienna, etc., as 
 repeated in his disingenuous letters, etc., reads, as has 
 been said, like a chapter out of Thackeray. The last 
 nine years of Mozart's life have been compared to " a 
 torch burning out rapidly in the wind." "Unwearied 
 
Mosart (ly^d-gi). 149 
 
 alike as a composer and an artist, he kept pouring 
 forth symphonies, sonatas and operas, whilst disease 
 could not shake his nerve as an executant and the hand 
 of death found him unwilling to relinquish the pen 
 of the ready writer." 
 
 Unfortunately, Mozart himself was somewhat un- 
 businesslike, while his wife was very delicate, and 
 though his habits were not expensive, his circumstances 
 became so bad, even in the zenith of his popularity, 
 that eventually he died a poor man. Worse still, and 
 what seems most extraordinary, that through a change 
 of sextons and some apparent misunderstanding or 
 neglect, it is not even known exactly where he was 
 buried in the Vienna cemetery. 
 
 Personally, Mozart, though not free fiOm deprecia- 
 tion by small talk and scandal, seems to have been a 
 most lovable man. 
 
 A little man, like many great men, with a large head, 
 ample forehead, pale face and dreamy eyes describe 
 his features. 
 
 4 <S iS 
 
 His work, technically speaking, is not so advanced 
 as that of Clementi, and while both had a large share 
 Mozart's °^ ^^^ divine gift of melody, Mozart excels 
 Oantatile strongly in his expressive cantabile or song- 
 Style, like themes. Pauer has said : " Mozart's 
 pianoforte compositions are of the greatest beauty and 
 
 Mozart — i 
 
; 50 L onversations on the Pianoforte Classics. 
 
 importance. For gracefulness, sweetness of expres- 
 sion, never-ceasing euphony he is unrivalled. We 
 recognise in his best pianoforte works his innate sense 
 of order, nature and beauty — qualities which were pre- 
 dominant in his character." 
 
 4 "4 4 
 
 Where he was surpassed by his great successor, 
 
 Eeethoven, was in the dramatic and tragic element 
 
 Contrast as well as from the increased effective- 
 
 ^"^t'l ness resulting from a more advanced tech- 
 Beethoven, 
 
 Hummel ""'l""- . 
 
 and In his own peculiar formal style Mozart 
 
 Schubert, was succeeded to some extent by Hummel : 
 
 in spirit his heir was Schubert, who always put the song 
 
 or cantabile element first. 
 
 Unlike Mozart, who was mostly diatonic, or home- 
 bound as regards harmonies and change of key, Schu- 
 bert was the opposite and revelled in modern chromatic 
 modulations and harmonies. But still it is none the 
 less appropriate that perhaps the finest panegyric of 
 Mozart has been pronounced by Schubert. 
 
 Let me quote it here by way of conclusion. 
 
 The extract is from Schubert's diary. He says : 
 
 " Gently, as if out of the distance, did the magic tones 
 
 Schubert's of Mozart's music strike my ears. With 
 
 " °sy- what inconceivable force and tenderness did 
 
 Schlesinger's masterly playing impress it deep into my 
 
Mozart (ly^d-gi). 151 
 
 heart. Such lovely impressions remain on the soul, 
 there to work for good, past all power of time or cir 
 cumstance. In the darkness of this life they reveal a 
 clear, bright, beautiful prospect, inspiring confidence 
 and hope. Oh Mozart, immortal Mozart ! what count- 
 less consolatory images of a bright better world hast 
 thou stamped on our souls." 
 
 <t 4 4 
 
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152 Conversations on the Pianoforte Classics. 
 
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Mozart (ly^d-gi). 153 
 
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HOW TO STUDY THE 
 PIANOFORTE WORKS OF 
 
 CLEMENTI 
 
 HERBERT WESTERBY 
 
 MUS.BAC, F.R.C.O., L.M.T.C.L. 
 
 WITH MUSIC EXAMPLES 
 
 London : 
 WILLIAM REEVES, 83 Charing Cross Road, W.C. 
 
UNIFORM WITH THIS BOOK. 
 Each published separately. 
 
 HOW TO STUDY THE PIANOFORTE 
 WORKS OF 
 
 1. Handel. 5. Mozart. 
 
 2. Bach. 6. Clementi. 
 
 3. DoM. Scarlatti, 7. Beethoven. 
 
 4. Emanuel Bach and Haydn. 
 
INTRODUCTION. 
 
 THE present work is intended for the average 
 moderately advanced pianoforte pupil who wishes 
 to go beyond the dips into the classics made during 
 the course of instruction and to learn to know some- 
 thing of the best pianoforte literature as a whole. 
 
 To do this it is necessary to build a foundation on 
 the classics and proceed later, in historic order with the 
 Romantics, and the more modern national schools of 
 thought. 
 
 No proper idea of pianoforte literature can be gained 
 unless the historic trend of the various compositions is 
 kept in view; and this, it may be said, has been the 
 author's principal aim throughout. For the same 
 reason only those principal composers are chosen who 
 are in the direct line of progress. 
 
 Space was not forthcoming for complete biographies 
 of the masters concerned, but the student is directed 
 to the introductory list of books appended to each 
 chapter, as well as to the various principal editions 
 recommended. From these the reader can select any 
 
iv Introduction. 
 
 necessary additions to that library which every amateur 
 and professional student should aim at forming. As 
 regards the interpretation of Beethoven's sonatas, an 
 attempt has been made to draw a middle line between 
 the flowery interpretations of Elterlein and the formal 
 analyses of the academic texts. For the rest it may be 
 said that it is very necessary for the student to consult 
 and play over the works described in conjunction with 
 the book itself, if he or she is to understand and enjoy 
 the many beauties present in them. 
 
 That this little work may be found a practical and 
 reliable guide is the earnest wish of the author. 
 
CHAPTER VI. 
 
 CLEMENTI (1752-1832). 
 
 ILLUSTRATIVE PROGRAMME. 
 
 The New Pianoforte and its Technique. The 
 Perfecting of the Sonata. 
 
 Sonata No. i. Of. i (No. i), in C. Presto (section), 
 Rondo (section). 
 
 „ 2. Op. 47, in B flat. Allegro, Allegretto, 
 Rondo, Toccata. 
 
 „ J. Of. 12, in B flat. Presto (section), 
 Larghetto, Variations (j and 4). 
 
 „ 4. Of. 12 (No. 4), in E flat.. Allegro 
 (section). Lento. 
 
 „ 5. Of. 25 (No. 2), in G. Allegro (sec- 
 tion), Rondo. 
 
 „ 6. Of. j6 (No. 2), in C. Allegro (sec- 
 tion). Adagio (section). 
 
 „ 7. Of. 40, in B minor. Molto Adagio, 
 Allegro. 
 
 „ 8. "Dido Abbandonata." Largo, Alle- 
 gro (sections), Adagio (sections). 
 Allegro (sections). 
 
 Duet Sonatas, No. j, in Eflat. Allegro, Adagio, Rondo. 
 „ „ 7, in E. Allegro assai, Larghetto, 
 
 Presto. 
 
 155 
 
CHAPTER VI. 
 
 Clementi (1752-1832). 
 
 ^ /^\ UR aim in all these chapters has been to bring 
 I V-^ out the historical significance of the best works 
 lof the leading composers of pianoforte music. It 
 would have been a comparatively simple matter if 
 we could have taken such works and composers in 
 strict historical succession, but such a procedure is not 
 possible. 
 
 ■S tfe <£ 
 
 We began with Handel and Bach because their 
 works form the climax of the polyphonic period, 
 but in exactly the same period we have the 
 virtuoso Domenico Scarlatti, whose harpsichord works 
 are not only all in monophonic or purely harmonic 
 style, but also suggest the beginnings of the technique 
 more appropriate to the new pianoforte, which, how- 
 ever, did not come into vogue until after the death of 
 these three composers, i.e., about 1767. 
 
 It was previously, in 1717, that Cristafali, the cem- 
 
 1S6 
 
Clementi (if §2-18^2). 157 
 
 balist to the Prince of Tuscany, had brought forward 
 his new instrument, in which hammers were 
 Pianof t "^^"^ instead of quills for setting the strings 
 into motion, thus enabling both piano and 
 forte to be played. Lack of sustaining power and the 
 necessary new style of touch delayed its popularity for 
 a time. In 1747 at the historic meeting of old Bach and 
 Frederick the Great, in the palace at Potsdam, Bach 
 was shown some new pianos made by Silbermann, made 
 on this model. Eventually inculcating some improve- 
 ments suggested by Bach these instruments began to 
 come into use some twenty years later, i.e., in 1767, and 
 in this same year one of Zumpe's pianos described as 
 "a new instrument called a pianoforte," appeared at a 
 concert in London. 
 
 In 1753 Em. Bach, while endeavouring to write for 
 the new pianoforte deplored its lack of sustaining 
 power and thirty-four years later in 1787, he still 
 thought that "a good clavichord, save in its weaker 
 tone, has all the beauties of the pianoforte." The square 
 pianos of Zumpe made in London, and first produced 
 between 1760-5 were improved upon by one, Backers, 
 who brought out what was called the English action. 
 This action as taken up by Broadwood, resulted in 
 the typical Broadwood grand. The characteristic of 
 the English action was a comparatively deep touch 
 favouring a full and sonorous style. This is impor- 
 tant as typifying the style of Clementi who was the 
 first to write in appropriate pianoforte style. 
 
158 Conversations on the Pianoforte Classics. 
 
 During this period, on the Continent, the Silbermann 
 
 pianos, as improved upon by Stein and Streicher, 
 
 ijijjg resulted in an instrument which though not 
 
 Viennese favouring variety of tone as much as the 
 
 Piano. English model was characterised by an 
 easier touch and more brilliant execution generally. 
 These Viennese pianos were specially favoured- by 
 Mozart, and this again is important as giving the clue 
 to his comparatively light and ornamental style of 
 composition for the pianoforte. Beethoven, however, 
 favoured the English piano, and composed some of his 
 later works stimulated by the Broadwood grand which 
 was sent to him by his English admirers. 
 
 From the new pianoforte itself, we must now pass 
 on to its composers. 
 
 4 4 4 
 
 Neither Em. Each nor Haydn had quite gained an 
 insight into the appropriate technique for the instru- 
 ment though each contributed something, the former 
 in the florid organ style, the latter composer's 
 being a reflection of the more minutely phrased violin 
 or orchestral style. Both Em. Each and Haydn as well 
 as Mozart were naturally hampered by their early 
 devotion to the clavichord. 
 
 4 4 4 
 Young Clementi, who was born 1752 was probably 
 
Clemenii (ly 52-18^2). 159 
 
 the first who composed for the new pianoforte from 
 the beginning, hence the not inappropriate 
 
 ^^^ 'iJif*^®'' title of "Father of the pianoforte" which we 
 
 01 tne • TTr 
 
 Pianoforte." ^^^ ^" Westmmster Abbey, where he was 
 interred in 1832 — for the spare and frugal 
 Clementi long survived the period of his style in 
 composition. 
 
 Born in Rome, where his father was a goldsmith, the 
 boy Clementi was early brought into contact with the 
 church, and became an organist prodigy at the age of 
 nine. 
 
 Studying counterpoint and composition diligently, 
 the young genius was at the age of fourteen, dis- 
 covered by an English tourist by name Peter Beckford, 
 brother of the author of "Vathek," and by him taken 
 to his seat in Dorsetshire, where he had all the advan- 
 tages of a good English, as well as a musical, edu- 
 cation. 
 
 4 C& 4 
 
 In four years' time, diligently studying the works of 
 Domenico Scarlatti, and of Paradies (an attractive 
 First composer who had settled in London, and 
 Sonatas whose works form a link between the two), 
 for the young Clementi had become a virtuoso, and 
 had written his first sonatas (each consist- 
 ing of two movements) for the pianoforte by 1770, 
 that is at the age of eighteen. These sonatas (en- 
 titled Op. 2) created quite a sensation, and were 
 
i6o Conversations on the Pianoforte Classics. 
 
 accounted very difficult at the time. No. i, in C, 
 the Octave Sonata as it was called at the time, is 
 somewhat a patchy work, its technical features appear 
 in blocks, so to speak, but the bold style of its tech- 
 nique (a development of that found in Scarlatti) is 
 notable as initiating that which Beethoven built upon, 
 for Beethoven studied diligently the works of Clementi 
 for style, just as Haydn and Mozart imbibed the first 
 principle of form from Em. Bach. You will notice 
 the characteristic rolling broken octaves, the bold 
 wrist octave passages, the sequential passages of broken 
 chords, passages of double thirds, arpeggios, etc. 
 
 No. I. Presto. 
 
 Sonata, Op. 2. 
 
 .^- 
 
 !l 
 
 p.^. 
 
 ii 
 
 --jjia^^jipl^tor 
 
 B^-K |_»_— |_K_J- |_« -\-W. j_» 1, 
 
 ■4- -•- •- -•- -•- -•• -•- -•■ 
 
 V=ii|-- 
 
 tT 
 
 
 
 iiiif 
 
 The Op. 2 sonatas appeared in 1770, the year of 
 young Eeelhoven's birth. 
 
dementi (ly^s-iS^s). i6i 
 
 We must remember that the first pianoforte sonatas 
 of Haydn (then thirty-eight years of age) did not 
 appear till four years after, and those of Mozart not 
 till six years afterwards. 
 
 The younger genius Beethoven, as I have hinted, 
 made a deep study of dementi's w^orks ; many of them 
 were found in his library after his death, and he 
 openly announced that he preferred them to Mozart's. 
 
 ■fe 4 « 
 
 Clementi now toured on the Continent and secured 
 great applause as a virtuoso. His style was recognised 
 by his contemporaries, as full of new effects and as 
 bringing out in a remarkable manner the idiosyn- 
 crasies of the novel pianoforte. 
 
 Interesting to relate, our composer, who was then 
 nineteen, and young Mozart, aged fifteen, already 
 accustomed to concert appearances as a prodigy, met 
 at the court of the Emperor Joseph II in Vienna. This 
 was in 1781 — over one hundred and thirty years ago. 
 
 « 4 « 
 
 At this musical contest Clementi played first, 
 
 and after a prelude performed his Sonata in B flat. 
 
 This work (since published as Op. 47, No. 2) commences 
 
 with a striking subject which was after- 
 
 _0P'*'' wards made use of by Mozart, in his over- 
 
 inBflat. ^^j.g^Q «-phe Magic Flute." 
 
1 62 Conversations on the Pianoforte Classics. 
 
 Sonata, Op. 47, No. 2. 
 
 No i. Allegro con brio. 
 
 -b- ^ "^ 
 
 ( 
 
 IBi 
 
 F— !-^-^ 1 — I — I 1 1 — 1 1 1— 
 
 &iB^E:?^^^fe^f3=feE3^ 
 
 Apart from the technical or virtuoso aspect the 
 sonata is a notable one. It is in modern sonata form, 
 well developed, in a concise manner, and always 
 effective. 
 
 The rondo is spirited, and the episode in the minor 
 is quite Beethovenish in its virility. 
 
 The work is more artistic in tone, and less youthfully 
 exuberant than the first in C, thoiigh perhaps not so 
 effective as other earlier works. Perhaps Clementi 
 wished rather to give a specimen of musicianship than 
 of the virtuoso element, which is not prominent till we 
 come to the final toccata. 
 
 The andante is simple and digni&ed, though 
 Clementi does not compare in slow movements with 
 Mozart and Beethoven, who wrought out slow move- 
 
dementi {1^^2-18^2). 163 
 
 merits to perfection en a style which combined the 
 florid Italian operatic aria with the minutely phrased 
 violin style. 
 
 The rondo is in well-defined rondo form, in which, 
 as you know, the one principal theme is used again 
 and again, but" always with varying intervening por- 
 tions or episodes. It is not in his best style and might 
 have been written by young Mozart for its genial mood. 
 You will note that the work finishes with a coda 
 reminiscence of the first movement. 
 
 The final well-known toccata which is built upon 
 rapid passages of double thirds and sixths is tuneful 
 and spirited and makes a good conclusion to the whole. 
 
 Young Mozart and Clementi at the historic meeting 
 
 extemporised variations on a theme, the 
 
 Mozart s ^.^^ composers then improvised together on 
 Contest with '^ . . ^ . 
 
 Clementi. separate pianofortes — a curious contest 
 
 in which each alternately accompanied the 
 
 other. The palm of merit was, however, undecided. 
 
 Clementi afterwards generously remarked on 
 
 Mozart's singing touch, and how that "he never heard 
 
 anyone play with such spirit and grace." Mozart, on 
 
 the other hand, was apparently jealous. 
 
 * * « 
 
 At this time Italians led the musical world in 
 Germany as elsewhere, and this accounts for young 
 Mozart describing Clementi as "a charlatan like all 
 
164 Conversations on the Pianoforte Classics. 
 
 the Italians" and as "a mere mechanician strong in 
 runs of thirds, but without a pennyworth of feeling or 
 taste." 
 
 Some twenty-five years later Clementi explained in 
 an apologetic manner to Berger that at that time he 
 had cultivated brilliant execution, and that later he 
 had achieved a more tasteful and singing style from 
 listening to famous singers and from the improved 
 mechanism of the English pianos. 
 
 <& "S iS 
 
 We shall not have time to consider the sixty-four 
 pianoforte sonatas of Clementi in detail, neither is it 
 necessary. Some of them were written for 
 educational purposes, and others for culti- 
 vation of bravura style, others again 
 combined deep expression with masterly form and 
 effectiveness. In these latter Clementi reaches a high 
 standard. 
 
 It is the fate of the lesser lights, men eminent in 
 their day and generation, to be overshadowed by those 
 for whom they have prepared the way, and this appar- 
 ently, to some extent, and unjustly, has been the 
 fate of Clementi. Mr. Shedlock, in his book on the 
 " Pianoforte Sonata " says : " With the exception of 
 Mozart's Sonata in C minor, and Haydn's 'Genziger' 
 and 'London' Sonatas, both in E flat, also some of 
 
dementi (1^^2-18^2). 
 
 165 
 
 Rust's, there are to my thinking none which in spirit 
 come nearer to Beethoven than those of Clementi." 
 
 * 4 4 
 
 We may now describe the leading sonatas of 
 Clementi which were written before the first of those 
 of Beethoven (Op. 2) appeared in 1796. 
 
 Taking these in historical order we are first attracted 
 
 by a very fresh and charming Sonata in B 
 
 Op. 12(1) g . Q -[sJq jjj ^]^^gg movements. The 
 
 in B flat. ^ 1 ■ i ■ 1 ,. 
 
 first movement is written mostly in triplet 
 
 rhythm throughout, and it is very free and bold as well 
 
 as melodious.. 
 
 No. 3. Presto. 
 
 Op. 12, No. I. 
 
 
 &^-^ 
 
 =P=fr.-T=i: 
 
 zpizf^ 
 
 ^=F 
 
 £EE 
 
 |-%3^3^--Jz^^a^^"i^^iE^fei 
 
 Probably written soon after, it reminds one of 
 Haydn's early Sonata in C, published in 1774, to 
 
l66 Conversations on the Pianoforte Classics. 
 
 which it is much superior, as is also the slow move- 
 ment which, however, is better than most of dementi's. 
 The variations here are quite equal to the age in which 
 they were written — if not superior. One may perhaps 
 term them "Mozartean" as they are concerned only 
 with the melodic side. You will note two characteris- 
 tic variations in broken octaves and double thirds. As 
 a whole, they are interesting in a way, but not equal to 
 the later F minor Variations of Haydn, who, like Beet- 
 hoven, made much more of the harmonic aspect. 
 
 ■6 4 4 
 
 The E flat Sonata No. 4 of the same Op. 12 is also 
 
 interesting. The first movement is in massive and 
 
 masculine style with a profusion of octaves. 
 
 The lento is notable for its expressive 
 
 „-" ^« °1 feeling and musical harmonic interest. The 
 E flat Sonata. 
 
 rondo, however, is not up to the level of the 
 
 rest. 
 
 4 4 4 
 
 The second sonata of the earlier Op. 9, in C, is noted 
 
 for a kind of perpetual motion movement in octaves, 
 
 Foreshadow- marked presto. The third Sonata in E flat, 
 
 ings of Op. 12, and the Op. ig in F minor are re- 
 Beethoven, markable for their foreshadowings of 
 Beethoven as described by Mr." Shedlock. 
 
 The G major Sonata, No. 2 of the Op. 25, is exceed- 
 ingly bold and bright, and reminds one of Mozart, 
 
Clementi (if 52-1 8 32). jQ^ 
 
 Op. 25 (2) *^°"^^ "°* '" ^'^ ^^^^^^ P^"°^- We must 
 
 in G. remember that these composers always 
 
 reacted on each other. The second and final 
 
 movement, a rondo, is, though thin, very gay and bright, 
 
 reminding one of Haydn. 
 
 The Sonata in D, No. 3, in Op. 26, though thin in 
 
 Educational ^^^^^' ^"^ Probably meant as an educational 
 
 Works. "^^^^ ^^ exceedingly Haydnish in spirit, 
 
 gay, merry and tuneful. 
 The last movement of the F minor, No. 2, Op. 26, is 
 Op. 26 (2) in F useful for its double third passages, while 
 minor and the whole of the Sonata in C, Op. 34, No. i, 
 Op. 34(1) inc. is valuable for purposes of technique. 
 
 The first movement of the interesting Sonata in C, 
 Op. 36, No. 3, is also quite in virtuoso style with its 
 opening combined third and octave pas- 
 in 0. sages, cadenza and double shakes. Its at- 
 mosphere reminds one of the similar 
 virtuoso work, the "Waldstein" Sonata of Beethoven. 
 
 Op. 36. No. 3. 
 No. 4. Allegro con spirito. 
 
 — i r^ *-pjf=p-t- — 1 — i-f i— • — J — 
 
 -.^ J. 
 
 m=P^-^T-. 
 
 {«- ;- ' — J- 
 
 This first movement, together with the Sonata in C, 
 Op. 34, are educationally valuable as a preparation 
 
 Clementi — 2 
 
1 68 Conversations on the Pianoforte Classics. 
 
 for the more difficult sonatas, and the concertos of 
 Beethoven. The adagio is unusually spun out and 
 ornamented. The final movement is of no great merit. 
 We have now come to about the end of the eighteenth 
 century, and Clementi instead of being the model for 
 his successor Beethoven, begins to show the influence 
 of the German master. 
 
 4 ■% 4 
 
 The next work of note of Clementi is his Op. 40 in 
 B minor. This has been hailed as one of the finest 
 Clementi s sonatas ever written. It appeared in 1802. 
 Op. 40 and Meanwhile, in the few short years proceed- 
 later ing, Beethoven had been quickly pouring 
 Sonatas, forth some of his finest works, including the 
 "Pathetic," "Pastoral" and "Moonlight" sonatas, and 
 these with their symphonic, almost orchestral, style, 
 and with their deeply thought-out and in some cases 
 almost tragic slow movements, quickly took the lead in 
 the artistic world. 
 
 B minor Sonata, Op. 40. 
 No. S- Molto .\dagi 1 e so-tenuto. 
 
 
 
Clementi (iy^2-i8j2}. i6g 
 
 Hence in dementi's Op. 40, we at once discern a 
 
 deeper note. We cannot but admire the dignity and 
 
 pathos of the slow movement, but at the 
 
 ?n,W ^^^^ time ks thmness and lack of har-- 
 Jq minor. 
 
 monic variety make it pale before the Beet- 
 hoven model. In the allegro, however, there is no 
 mistaking the intense earnestness and the stormy mood, 
 the impatient emphatic manner reinforced by un- 
 expected sforzandos, so characteristic of Beethoven, 
 which Clementi has infused into it, so much so, that 
 one might almost in a first hearing mistake the 
 authorship of it, were it not for the somewhat trans- 
 parent second subject in D major. The ensuing largo 
 shows dementi's weakness, and the final movement, 
 though now showing something of the constructive 
 skill in inversion of themes, largely characteristic of 
 Beethoven, does not sustain the interest and is some- 
 what commonplace. 
 
 4 4 * 
 
 The first movement in the next Sonata, in Op. 40, 
 that in D minor, though not remarkable. 
 
 The Op. 40 undoubtedly suggests the influence of 
 Beethoven's "Pastoral," the slow movement 
 
 is better than usual, while the merry rondo is good 
 
 practice. 
 
 cfe c& 4 
 
 The next and last in our riotice of the sonatas is the 
 
1^0 Conversations on the Pianoforte Classics. 
 
 one to which Clementi gave the title "Dido abband- 
 
 onata : Scena Tragica," one of three dedi- 
 
 Tho-Dido" ^^(.g(j to Cherubini. A tragic scene it is 
 
 50 No 3 undoubtedly, but one, we must say, that is 
 
 painted in somewhat faded colours. 
 
 Clementi is best in quick and gay movements, and 
 the thin writing in this work shows his weakness. 
 Nevertheless the meditative despair, rising to anger and 
 tragedy, is faithfully depicted. The short, pathetic 
 largo leads the way followed by the expressive and 
 only moderately quick allegro. 
 
 The wail of lamentation in this piece of programme 
 music is continued in the soliloquising adagio dolante 
 with more interest, and is remarkable (for Clementi) for 
 its advanced harmonies and modulations. The final 
 movement declines, however, from lack of contrast and 
 general interest. 
 
 Op. 50, No. 3. (Didone Abbandonata). 
 No. 6. Largo patetico. 
 
 n-t^ 
 
 
 ^-y-^ irr- ^-p-*-"*" j'^ 
 
 'uJ J„„ u 
 
 p ^ — ' ores. 
 
 
 aglg^ g^^^ ^ ^ pj 
 
 Mr. Shedlock says: "This 'Dido' Sonata, of course, 
 suffers if compared with those of dementi's great 
 contemporary, and some of the writing is formal and 
 
dementi (1^^2-1832). 171 
 
 old-fashioned, and at times, too thin to attract the 
 sympathy or to excite the interest of pianists of the 
 present day,, who enjoy the richer inheritance of Beet- 
 hoven, the romantic tone-pictures of Schumann and 
 Brahms, the fascinating miniatures of Chopin, and the 
 clever glittering of Liszt. Still it does not deserve 
 utter oblivion." 
 
 I would supplement this by saying that a work with 
 a distinct programme always invites criticism, its title 
 is at once its weakness, unless it can claim general 
 interest apart from it. The weakness of the "Dido" 
 Sonata which contains much that is highly artistic and 
 poetic in itself is, that it contains four movements all 
 in the same key and all endeavouring to interpret the 
 same emotions, hence there is satiety and lack of 
 variety of interest. 
 
 « « 4 
 
 I think I have now said enough to prove that there is 
 much in Clementi that should be in the permanent 
 repertoire of every pianist, who intends to know the 
 classics of his art. 
 
 By keeping by him the movements illustrated, he 
 will not only understand the historical position of 
 Beethoven, but will, by the practice of them, prepare 
 himself for the similar difficulties in the greatest of 
 sonata composers. 
 
1/2 Conversations on the Pianoforte Classics. 
 
 ijijjg Here I should like to summarise what is 
 
 Educational most likely to be useful to the average 
 Aspect. fairly advanced student in the last 
 connection. 
 
 Commencing with a tuneful Sonata in D of the Op. 
 21 (Student's Edition), (first two movements), then the 
 attractive No. 3 in D of the Op. 26 (all), the Sonata in 
 B flat, Op. 12, No. I, and the Op. 36, No. 3, will be 
 found the best preparation for Beethoven's works and 
 also for the concertos of Mozart. 
 
 I mention this because with a view to the acquire- 
 ment of the robust technique, characteristic of 
 Beethoven, it is almost waste time taking average 
 sonata movements by Mozart and Haydn for the 
 purpose mentioned. 
 
 <S 4 <S 
 
 This brings me to the mention of dementi's well- 
 known "Gradus ad Parnassum," one of the earliest col- 
 The lections of technical studies. Published in 
 "(Jradusad 1817, it is now, like much of dementi's 
 rarnassum.".^Qj.l^^ somewhat out of date; the best and 
 most useful portion consisting of those studies which 
 are written in the florid contrapuntal style. To these 
 may be added some for broken and wrist octaves and 
 for independence of the fingers. 
 
 Seven years previously the studies of John Baptist 
 Cramer (dementi's own pupil) had appeared, and as 
 these were written in much more modern _ style, it fol- 
 
Clementi (lyfj^-iS^s). 173 
 
 lows that dementi's aim was to provide technical 
 
 preparation for the masterpieces of a past age. 
 
 Clementi wrote sundry other works all now forgotten 
 
 except the preludes and exercises, some of which, in 
 
 contrapuntal style, are still useful, also the 
 The ' ' Pr e 1 
 
 1 J , elementary sonatmas in which are some 
 luaes and p , 
 Exercises." "^^^^^ movements, educationally speaking. 
 
 Besides these there are two duets for two 
 pianofortes and his duet sonatas which I might illus- 
 trate before concluding, with the story of the rest of 
 Clementi's life. 
 
 Concerning these duet sonatas of Clementi I would 
 say that it seems amazing that works so melodious and 
 
 effective should be almost forgotten. There 
 1 he Duet . , r , . 
 
 Sonatas ^ "°^ signs 01 a revival of duet 
 
 playing, and Clementi's certainly deserve 
 attention. Of the seven sonatas, the third, fourth, 
 fifth and seventh are perhaps the best, the first 
 two being somewhat in educational style. The best 
 numbers might be easily taken on a first hearing 
 for Mozart in his best and most inspired mood. Only, 
 perhaps, is it in the less general use of more modern 
 harmonies do we discern the difference in Clementi. 
 One should say meanwhile, that, as Mozart practically 
 initiated the duet and made it fashionable — the leaning 
 to Mozart on the part of Clementi, is quite natural. On 
 the other hand, both composers wrote in the Italian style, 
 the difference being that Clementi had the more robust 
 manner, while Mozart, at least in his mature period. 
 
1/4 Conversations on the Pianoforte Classics. 
 
 excelled in harmonic resources, and the expressive 
 ornate slow movements. Mozart's duets are more or 
 less in symphonic or overture style and something of 
 this you will also notice in Clementi, who, by the by, 
 was also a composer of symphonies and overtures now 
 forgotten. 
 
 ■4 <fe <6 
 
 No. 3 Sonata reminds one faintly of the busy good 
 humoured "Figaro" overture of Mozart. There are 
 interesting modulations in both this and the pretty 
 adagio, and the gay, inconsequential rondo, the whole 
 forming a charming and concise work in this style. 
 
 Allegro 
 
 1 
 I 
 
 Third Duet Sonata. 
 
 »- '- 'i 
 
 
 -J. 
 
 i I i I iitjd ' '■ '■ 
 
 rf'^i* •■?:• "•'• ^'z*'* !_•"■ 
 
 ^i^-ie^'tEt^iptfr. 
 
 -ttt-=a=r-t±±i~i±±:- 
 
 Hf^^-E^S 
 
 • ^ 
 
 -m -0 ^ •- •-• •• 
 
 No. 4 in C is very bright and spirited, and particu- 
 
Clementi (iy^2-i8^2). 
 
 175 
 
 larly Mozartean, but it is the lighter style of Mozart 
 which Clementi imitates. 
 
 Duet Sonata, No. 4, 
 
 Presto 
 
 I 
 
 EB- 
 
 n 
 
 
 I f T • -•■ -F- i— V- ' I I 
 
 »— »-F— I — ^jw— ■ r— g — ^- • • • • — 
 
 
 i 
 
 -•— "N -I ■ 1 
 
 -I ^ -I 1 1 s — 
 
 I I 
 
 ^ 
 
 ±3 
 
 El- 
 
 III III 
 
 • • • • 1 
 
 No. 5 in E flat is interesting, tuneful and contains 
 points of imitation. 
 
 Duet Sonata, No. 5. 
 
 Allegro _4_. ±A..l^,\l 
 
 -0' 
 
 :glE^{^;. 
 
 3-J- 
 
 B" 
 
 I 
 
 
176 C onversations on the Pianoforte Classics 
 
 \ 
 
 >-H-?f » — F- 
 
 mzi- 
 
 -— — r 
 
 I 
 No. 6 in C is in brilliant, almost overture, style again, 
 with interesting technical features, rushing scales, the 
 characteristic broken octaves and repeated notes — a 
 melodious larghetto and good humoured presto con- 
 clude an interesting work. 
 
 Duet Sonata No 6. 
 
 I_ » 1 f 
 
 Allegro Assai 
 
 ^-i. 
 
 
 -^— i:t-=»^r— t; 
 
 •; 
 
 • -^ 
 
 1 
 
 • 
 
 
 .^ 1 
 
 -ft- 
 
 It—; 
 
 "t: 
 
 -•— •— 
 
 _L-. 
 
 -F-» 
 
 > "« — ^ 
 
 I I I f I I > t t ,~~"«» 
 
 'ill 
 
 
 •F. "P" I rT I -•- " • * -j^- 8 S . 8 -C- 
 
 f 
 
dementi (17 52-18 J2). 177 
 
 Clementi's prestos, one should lake, by the by, in 
 Italian fashion, to mean "not so quick," and the an- 
 dantes "not so slow" as the usual German interpreta- 
 tions. Hence the sneer of Mozart at Clementi's prestos, 
 which he said in writing to his sister were executed 
 moderate, was most likely due to the different inter- 
 pretations put upon the word by the two virtuosos. 
 
 You have heard something of the charm which is to 
 be found in the works of Clementi, there remains now 
 only some further mention of interesting facts in his 
 life history. 
 
 cfe 4 4 
 
 Clementi was one of those eminent foreign com- 
 posers who presided as conductor of the 
 
 ,?i^™!''*''^ Italian Opera at Covent Garden. This was 
 Life History. ^ r n ■ 1 i 
 
 at the age of twenty-nve. Previously he 
 
 had taken London by storm as a pianist. 
 
 After his three years at the opera occurred his tour 
 through Paris, Strassburg, Munich and Vienna, and the 
 competition with Mozart in the latter city. 
 
 Clementi, except for a visit to Paris in 1785, now 
 remained for some twenty years in London, while he 
 made a fortune as teacher, pianist and composer. A 
 man of businesslike habits he, after losing money in one 
 or two ventures, finally founded, in company with one 
 Collard, the piano manufacturers' business still known 
 as Collard and Collard, after which he took only pro- 
 fessional pupils. 
 
1/8 Conversations on the Pianoforte Classics. 
 
 Among these were the noted performers and com- 
 posers, J. B. Cramer and John Field, of Dublin, the 
 last-named, along with Weber, one of the first romantic 
 composers for the pianoforte arid the direct predecessor 
 of Chopin. We shall treat of him later. 
 
 4 cS <S 
 
 In 1802, when a man of fifty, Clementi went on a 
 tour to St. Petersburg, taking Field with him, and was 
 everywhere enthusiastically received. Moving on to 
 Berlin and Dresden Clementi here received the later 
 well-known pianoforte composers, Klengel and Berger, 
 as pupils. It was here he also married a young and 
 beautiful wife who, sad to relate, died within the year. 
 His second wife, whom he married a year later, was a 
 notable Englishwoman, Emma Gisborne, who was 
 connected with artistic circles. 
 
 Clementi returned with Klengel and Berger to St. 
 Petersburg, where they found Field, the most prosper- 
 ous teacher in the city. 
 
 Returning homeward Clementi made a long stay in 
 Vienna, and a second visit to Italy and finally back 
 to England in 18 10, when except for a visit to Leipzig 
 some eleven years later he settled down till the end of 
 a very long and useful life. His death took place in 
 1832 at the age of eighty. 
 
 The great importance of dementi's influence lies in 
 the fact that not only was he to exploit, so to speak, the 
 
dementi (iy$2-i8j2). 179 
 
 .. modern pianoforte, and to do very much 
 Clementis r ,1 r ■ r , 
 
 InSuence "^ pertectmg of the sonata and pre- 
 
 paration of the ground for Beethoven, but 
 that he founded a certain school or manner of 
 pianoforte playing. We have mentioned Cramer, 
 Berger and Klengel as his pupils, to these we 
 must add both Moscheles and Kalkbrenner. What 
 has been termed the solid virtuosity of Clementi 
 was alike represented in the playing and in the 
 compositions of all these. Cramer and Berger in 
 their celebrated studies, Klengel in his canons and 
 fugues, Moscheles and Kalkbrenner in their well-known 
 studies and concertos, all spread the influence of the 
 " father of the pianoforte." 
 
 i4 <fe <6 
 
 We have to add a word or two as to personal. traits. 
 
 Energetic and genial, but also dignified and hot-tempered 
 
 from his Italian origin, it is interesting to 
 
 „ .. note how Clementi on his second visit to 
 irAitis. 
 
 Vienna, he and Beethoven each attended by 
 
 a pupil sat at the same table but would not speak to 
 each other as Clementi had not first called on Beet- 
 hoven. The Continental custom (at variance with the 
 English) of the stranger first calling on the resident 
 probably had something to do with the beginning of 
 this — and afterwards, no doubt, each would stand on 
 his dignity. 
 
 Moscheles has described in his autobiography how 
 
l8o Conversations on the Pianoforte Classics. 
 
 that when newly established in London he was wont to 
 spend his Sundays with his old master and his family 
 at Elstree near London. He says: "Clementi is one 
 of the most vigorous old fellows at seventy I ever saw. 
 In the early morning we watch him from our window 
 running about the garden bareheaded, reckless of the 
 morning dew. He is too lively to ever think of rest. 
 At table he laughs and talks incessantly. He Has a 
 sharp temper, too, which we set down to the hot blood 
 of his Italian nature. He plays at the piano now but 
 rarely and gives out he has a stiff hand, the result of 
 falling out of a sledge when he was in Russia, but 
 there is a suspicion that his unwillingness is caused by 
 his inability to follow the great progress the bravura 
 style has made since his time. His wife, an amiable 
 Englishwoman is a great contrast to him." 
 
 In 1827, five years later, a public dinner was given by 
 London musicians to Clementi, and later on in the 
 evening he was led to the instrument by Sir George 
 Smart, Cramer and Moscheles. According to Moscheles 
 there was great excitement as he had not been heard 
 for some years. However, Clementi extemporised on 
 a theme from Handel, and completely carried away his 
 audience. 
 
 A year later at a party given by Moscheles Madame 
 Sontag, the singer, and Sir Walter Scott were present. 
 The veteran offered to play and his efforts were 
 received with enthusiasm. 
 
 Mrs. Moscheles refers to the meeting of the two old 
 
dementi (1^^2-18^2). 181 
 
 notabilities, Sir Walter Scott and Clementi, thus : " You 
 should have seen the ecstasy of the two old men, Scott 
 and Clementi : they shook each other by the hand." 
 
 Sir Walter in writing later to Moscheles said : " And 
 when you see the fine old gentleman, Mr. Clementi, will 
 you oblige by remembering me to him ?" 
 
 ■4 « 4 
 
 We have now finished our chat about Clementi and 
 all we have now to do is also, so to speak, to remember 
 you to him in the only practical way, that is to exhort 
 you to play his works for yourselves, to enjoy the 
 melody and youthful vivacity inherent in them and 
 then to keep green the memory of "the father of the 
 
 pianoforte" 
 
 =5 4 4 
 
 PRINCIPAL EDITIONS. 
 
 For biography see dictionaries, "Famous Pianists," 
 etc, "Musical Record," June, 1891, etc. 
 No complete edition. 
 LiTOLFF (93-5), Sixty-four Sonatas, three 
 volumes, 7s. each net. 
 
 Breitkopf and Hartel (4/1-3), Sixty-four Sonatas, 
 three volumes, 5s. each net. 
 
 Universal Edition (117-20), Twenty-four Sonatas, 
 four volumes, is. 6d. net each. 
 
 Peters (146a, d\ Twenty-four Sonatas, four 
 volumes, is. 8d. net each. 
 
1 82 Conversations on the Pianoforte Classics. 
 
 BreitkoPF and HarTEL (1604-6, Germer Instructive 
 Edition), two volumes, 2s. net each. 
 
 LiTOLFF (327), Ten Sonatas and Toccata, one volume, 
 
 2s. gd. net. 
 
 AUGENER (8o94« and b). Twenty Sonatas, two 
 volumes at 2s. 6d. net. 
 
 AUGENER (990212, b, Riemann Edition), 
 Sonatinas. ^^^ volumes, folio, is. 4d. net each. 
 Preludesand PETERS (iioi), one volume, is. 4d. net. 
 
 BREITKOPF AND HarTEL (285), Seven 
 Duets. Sonatas, one volume, is. 8d. net. 
 
 Peters (1323), Sonatas, one volume, is. 4d. net. 
 Universal Edition (769), Sonatas, one volume, 
 IS. 4d. net. 
 
 LiTOLFF (395), Four Sonatas, one volume. 
 Original ^g ^^ ^^^ 
 
 two Pianos Peters (1982), Two Sonatas in B flat, one 
 
 volume, IS. 8d. net. 
 
 AuGENER (8095.2, c, Buonamici Edition), 
 
 ' Gradus ad ^j^^gg volumes, 3s. net each, or two volumes, 
 Parnassum. ' , 
 
 bound, 5 s. each. 
 
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 Complete. v t/ . y. 
 
 net. 
 
 Selections AUGENER (8096, Progressive Buonamici 
 
 from Edition), Bulow Selections (50), 5s. net. 
 
 "Gradus." AUGENER (9995), Selection (29), one 
 
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HOW TO STUDY 
 
 THE PIANOFORTE WORKS OF 
 
 BEETHOVEN 
 
 Beethoven — 1 
 
HOW TO STUDY THE 
 PIANOFORTE WORKS OF 
 
 BEETHOVEN 
 
 HERBERT WESTERBY 
 
 MUS.BaC, F.R.C.O., i-.M.T.C.L. 
 
 WITH MUSIC EXAMPLES 
 
 London : 
 WILLIAM REEVES, 83 Charing Cross Road, W.C. 
 
UNIFORM WITH THIS BOOK. 
 Each published separately. 
 
 HOW TO STUDY THE PIANOFORTE 
 WORKS OF 
 
 1. Handel. 5. Mozart. 
 
 2. Bach. 6. Clementi. 
 
 3. DoM. Scarlatti. 7. Beethoven. 
 
 4. Emanuel Bach and Havdn. 
 
 Printfd by The New Temple Press, 17 Grant Boad, Croydon. 
 
INTRODUCTION. 
 
 THE present work is intended for the average 
 moderately advanced pianoforte pupil who wishes 
 to go beyond the dips into the classics made during 
 the course of instruction and to learn to know some- 
 thing of the best pianoforte literature as a whole. 
 
 To do this it is necessary to build a foundation on 
 the classics and proceed later, in historic order with the 
 Romantics, and the more modern national schools of 
 thought. 
 
 No proper idea of pianoforte literature can be gained 
 unless the historic trend of the various compositions is 
 kept in view ; and this, it may be said, has been the 
 author's principal aim throughout. For the same 
 reason only those principal composers are chosen who 
 are in the direct line of progress. 
 
 Space was not forthcoming for complete biographies 
 of the masters concerned, but the student is directed 
 to the introductory list of books appended to each 
 chapter, as well as to the various principal editions 
 recommended. From these the reader can select any 
 
vi Introduction. 
 
 necessary additions to that library which every amateur 
 and professional student should aim at forming. As 
 regards the interpretation of Beethoven's- sonatas, an 
 attempt has been made to draw a middle line between 
 the flowery interpretations of Elterlein and the formal 
 analyses of the academic texts. For the rest it may be 
 said that it is very necessary for the student to consult 
 and play over the works described in conjunction with 
 the book itself, if he or she is to understand and enjoy 
 the many beauties present in them. 
 
 That this little work may be found a practical and 
 reliable guide is the earnest wish of the author. 
 
" Music is tlie Literature of the Heart : it commences where 
 speech ends." — Lamartine. 
 
 CHAPTER VII. 
 
 BEETHOVEN. 
 
 I. 
 
 The Perfector of the Sonata and Modern 
 Concerto. 
 
 Principal Compositions from 1781 to 1800. 
 
 ILLUSTRATIVE PROGRAMME. 
 
 lySi (aged ten). Variations on Dressler's March. 
 
 F minor Sonata (section). 
 ij8y. Duet Variations on "Waldstein" theme. 
 iy8g-go. Variations on Righini theme. 
 i'jgi-2. Second Bagatelle (Scherzo), Op. ^3- 
 
 Two Rondos, Of. §1 (sections). 
 I79§. Sonata, Op. 2, F minor (sections). 
 „ ,, A major ,, 
 
 „ C major 
 Concerto, No. i, in C, Op. ij (sections). 
 „ „ 2, in B flat, Op. ig (sections), 
 
 lygd. Variations on "Minuet a la Vigano." 
 
 Duet Sonata in D. 
 lygj. Variations on Russian Air. Sonata in E flat, 
 Op. 7 (sections). 
 
 183 
 
184 Conversations on the Pianoforte Classics. 
 
 lygS. Sonata, Op. 10, C minor (sections). 
 
 „ F major „ 
 
 D major 
 
 lygg. " Pathetique" Sonata, Op. /j (sections). 
 
 1800. Sonata in B flat, Op. 22 (sections). 
 
 II. 
 
 Chronological List of Pianoforte Works. 
 
 The pianoforte works of the Mature and Third Period present an 
 embayyas des yichesses, a chronological list therefore is substituted for 
 the Illustrative Programme. 
 
 The Mature Period (1800-14). 
 Composed about 1800. Concerto in C minor. Six 
 
 Duet Variations. Six Easy (Solo) Variations 
 
 in G. 
 1801. Sonatas,Op.26,2y(2),and28. Sonatas, Op. ji 
 
 (i, 2 and j). Six Variations in F, Op. 34. 
 
 Variations and Fugue in E flat, Op. 35. Two 
 
 Preludes, Op. jp (early work). 
 1804. "Waldstein" Sonata, Op. jj. Andante in F. 
 
 Sonata in F, Op. 5^. Variations on "God 
 
 Save the King" Variations on "Rule 
 
 Britannia'' "Little Hut" Variations. 
 1806. " Appassionata" Sonata, Op. 5. 
 /iJo^. Thirty-two Variations in C minor. 
 
Beethoven 185 
 
 i8o8. Concerto in G, Op. §8. 
 
 iSog. Concerto in E flat. Op. /j. Six Variations in 
 D, Op. yd. Fantasia in G minor, Op. 77. 
 Sonata in F, Op. yS. Sonatina in G, Op. jg. 
 
 1800-11. Fantasia, Op. 80, for Pianoforte, Orchestra 
 attd Chorus. Begun probably in 1800, per- 
 formed 1808, published 1811. 
 
 18 10. " Les Adieux" Sonata, Op. 8ia. 
 
 18 1 4.. Polonaise in C, Op. 8g. E minor Sonata, Op. 
 go. 
 
 III. 
 
 Third Period, 1816-23. 
 
 Composed about 1816. Sonata in A major. Op. 101. 
 i8i8-g. Sonata in B flat major. Op. 106. 
 
 1820. Sonata in E flat major, Op. log. 
 
 1821. „ „ A flat major, Op. no. 
 
 1822. „ „ C minor. Op. in. 
 
 182^. Bagatelles, Op. iig and 126. Diabelli Varia- 
 tions, Op. 120. 
 Posthumous. Rondo a Capriccio, Op. I2g. 
 
 Miscellaneous. 
 
 Albumblatt fur Elise. Clavierstiick in B flat. 
 
 Allegretto in C minor. Lusiig-Traurig. 
 
 Two Bagatelles. 
 
CHAPTER Vll. 
 Beethoven (178 i -1800). 
 I. 
 
 WHEN we come to the study of Beethoven's 
 pianoforte music there is one powerful factor 
 to be considered, and that is the evolution of 
 the pianoforte itself. Neither Haydn nor Mozart excel 
 in their pianoforte compositions, as compared with that 
 Influence written for orchestra or voices. The style of 
 of the New both was grounded in the feeble harpsichord, 
 Pianoforte, a^d the pianoforte in their time had, as you 
 know, its imperfections. Moreover, it is significant of 
 the times that Beethoven's early compositions were 
 published as intended for clavecin (harpsichord) or 
 pianoforte. 
 
 Cs. <k ^ 
 
 Haydn was well on in life before he wrote his first 
 sonata and poor Mozart's short life was ended ere 
 Beethoven's first works of note were written. 
 
 I8fi 
 
Beethoven (1781-1800). 187 
 
 Beethoven on the other hand composed for the piano 
 from the hrst. He preferred during his youth the 
 Stein pianos (of Vienna) as they facilitated easy and 
 brilliant execution, and though in his compositions he 
 always puts close development and reasoning-out of 
 ideas as the first place, yet he undoubtedly with the 
 pride of the young virtuoso sought also for effect. The 
 creation of this "effect" was the surest way of develop- 
 ing the technique or the resources of the piano. Not 
 that his pianoforte technique represents the climax in 
 that direction, far from it. His close connection with 
 and constant writing for the orchestra and also for 
 string quartets, etc., was perhaps a bar in that way, and 
 it was reserved for one who gave his whole attention 
 to the piano to stimulate perfection in pianoforte 
 style, viz., Chopin. 
 
 4 « 4 
 
 The technical figuration in Beethoven's compositions 
 was founded on Clementi, of whom he was a great ad- 
 Beethovens^i'^^'^' 3-"^ °" the similar but more refined 
 Clementi style of dementi's pupil Cramer, the use of 
 Technique, whose studies he warmly advocates as 
 being the best preparation for his own works. An 
 interesting book is the selection from Cramer's studies 
 with Beethoven's own comments on each, translated 
 and edited by Mr. Shedlock (Augener). The Cle- 
 menti technique, aided by the easy, brilliant execution 
 on the then new Viennese pianoforte, and the circum- 
 
1 88 Conversations on the Pianoforte Classics. 
 
 stances mentioned resulted in Beethoven's more power- 
 ful and more appropriate pianoforte style. 
 
 Other influences in his music were the spirit of the 
 times and his own personality. 
 
 4 <fe « 
 
 A great upheaval of the oppressed democracy was at 
 
 work in France, the terrors of the French Revolution 
 
 The Spirit of ^'^'^^ taking hold of the imagination of the 
 
 B^thoven'5 people. A similar upheaval even now we 
 
 Music. know is at work throughout the civilised 
 
 world, only now it is known as Socialism. Such 
 
 upheavals though not ideal in results we must 
 
 look upon as waves of progress in the evolution of the 
 
 declared goal of humanity, as it was declaimed in 
 
 Beethoven's time, viz., Liberty, Equality and Fraternity. 
 
 This spirit of the times entered into Beethoven's 
 
 music but his own personality was apart from that a 
 
 commanding one. 
 
 cfe 4 4 
 
 In Haydn, the son of a Croatian wheelwright, we 
 found innocence and gaiety prevailing, and, as a son of 
 the people, his music is redolent of the songs and dance 
 tunes of his native heath. 
 
 The music of Mozart, the courtier from boyhood, and 
 the wide travelled man of experience, shows on the 
 other hand a constant desire to please, a passion for 
 pleasing melody almost at the expense of what should 
 
Beethoven (lySi-iSoo). 189 
 
 b2 characteristic and truly representative of the 
 emotions. There are exceptions, of course, in his 
 music, and one of them as you know is the C minor 
 Sonata recently referred to. 
 
 ■S 4 ^S 
 
 With Beethoven it was quite different. His boyhood 
 and youth was not exactly a happy one. 
 
 His father, a dissipated man, was a tenor singer in 
 the choir of the Elector of Cologne's Church at Bonn. 
 His grandfather, .by the way, was a Fleming who was 
 either born in Antwerp, or whose family must have 
 recently left there, and he himself was a "first ' bass 
 singer and then capellmeister of the church in Bonn, so 
 that Beethoven was partly of Flemish or Dutch 
 descent. 
 
 Our composer's bringing up was rude, and through- 
 out life his manners were decidedly uncouth. He was 
 preoccupied or absent-minded in manner, careless of 
 dress and appearance and clumsy in everything, also 
 sensitive as well as irritable, and when so, abusive of 
 all and sundry. Yet despite this, his rugged inde- 
 pendence and innate nobility of character triumphed 
 over all adverse impressions and he was received in the 
 highest circles of society, and acquired many friends, 
 patrons and admirers. 
 
 His third symphony subsequently known as the 
 "Eroica," he dedicated in 1804 to Napoleon Buona- 
 parte, and his presentation copy lay ready to despatch 
 
iQO Conversations on the Pianoforte Classics. 
 
 when he heard that Buonaparte had assumed the title 
 of "Emperor." Beethoven immediately tore off the 
 title paper and dashed the works to the floor in disgust. 
 He was too much a democrat at heart to tolerate such 
 an action. 
 
 We have heard also how he showed his independence 
 by refusing to uncover when the Emperor passed by. 
 To quote another example, "Fidelio," Moscheles had 
 written an inscription : " Fine, with God's help." But 
 to this Beethoven characteristically added : " O ! man, 
 help thyself." We mention these incidents to show 
 how different to the probably average time-serving 
 capellmeister he was. Though a friend of the aristoc- 
 racy he would not acknowledge their superiority. He 
 was a "brain owner" as he termed himself, one of the 
 nobility of intellect indeed. 
 
 These are the personal characteristics which, with his 
 proud independent spirit, undoubtedly entered into his 
 music : nobility and high tone, depth of feeling ex- 
 emplifying both the tragic and the religious as well as 
 their opposites, sprightliness, good humour, also 
 abruptness of temper and passion. Those who have 
 read the many interesting incidents quoted in the 
 numerous biographies will recognise the same traits m 
 his music. 
 
 Beethoven's Beethoven's music has been divided into 
 Three three styles. This division is helpful 
 Styles, though no hard and fast lines can be drawn. 
 
Beethoven (ij8i-i8oo). igi 
 
 The first period shows the strong influence of 
 Haydn and Mozart. The second period represents 
 Eeethoven in his maturity showing his own individuality 
 and independence of style. The third, the result of 
 adverse circumstances, ill-health and misunderstanding, 
 finds him retiring into himself and becoming reflective. 
 The boundaries have been marked thus, first period up 
 to Op. 20 or 30, the second up to Op. 100, and the third 
 beyond. Portions of the various works, however, vary 
 much, and we shall have to try to discriminate as 
 regards the various styles and influences. With this in 
 view we shall take his works in historical order, as they 
 were written. 
 
 <6 <fe 4 
 
 It is said that Beethoven began the study of music 
 when only four years old. His father taught him the 
 Variations violin and clavier (harpsichord) and the 
 on Dressler's organist of the court chapel in Bonn (Von 
 March, 1780. (jg^ Eeden) the organ. Beethoven's earliest 
 pianoforte composition (Variations on Dressler's 
 March) was announced to have been composed 
 "by a young amateur, Ludvig van Beethoven, 
 aged ten years, 1780." This work, which did 
 not appear until 1783, is after the Mozart style, but in 
 variations Nos. 5 and 9 you will notice, even at this 
 age, an unusual freedom and boldness of style. In the 
 sharp-cut phrasing some of the variations show the 
 influence of his violin training. 
 
192 Conversations on the Pianoforte Classics. 
 
 Variation No. 5. Dressler's March. 
 
 No. I. 
 
 I 
 
 Sffl 
 
 3=1^ 
 
 irf:^--. 
 
 
 -J^5s55s^r23c;»-3'=:d^¥'5=^§?- 
 
 i^i^^s=®M^yio:iif 
 
 ^.-rl-T^-gn^- 
 
 tJT'^ 
 
 -S 
 
 p^:=^=a33-,?j^=tS-A|:r!^a'lll 
 
 
 ( 
 
 Theme 
 
 Uressler's March. 
 
 ^•=-fi^Hi? 
 
 -F' 
 
 
 
 Beethoven's variations on the whole differ from those 
 of Mozart in relegating the element of melodic charm 
 and outward show more to the background. He uses 
 less of the elaborate ornamentation of Mozart and less 
 of the brilliant cadenza, and in their place closely 
 develops the ideas and possibilities of his theme. 
 
 This indeed is the characteristic of all Beethoven's 
 music, more or less. What ornament and brilliancy 
 
Beethoven (lySi-iSoo.) 193 
 
 he displays seem to grow out of the evolution of the 
 idea itself. 
 
 Everything is closely reasoned out as if it were a 
 logical discourse in which all the various heads are pre- 
 sented in every possible light. Beethoven saw the pos- 
 sibilities of the variation form in this way, and greatly 
 extended it, displaying all the resources of an un- 
 equalled and master mind. The importance of this 
 lies in the fact that the application by him of the same 
 principles to the sonata form led to the attainment of 
 a perfection never since approached. 
 
 4 4 « 
 
 The next compositions were the three sonatas com- 
 posed at the age of eleven, and dedicated to the Elector 
 of Cologne. These show the influence to 
 
 Three Early ^^^^ extent of the organist, Neefe, who had 
 Sonatas. 
 
 succeeded Van der Eeden at the court, and 
 
 who had now become Beethoven's tutor. 
 
 All three sonatas show pleasing melody, the orna- 
 mental style of Mozart, and, above all, the clear-cut 
 violin style. 
 
 There is not much development of idea in the pre- 
 mature F minor Sonata, but there is much in spirit that 
 reminds one of the mature Beethoven and especially 
 of the "Pathetic" Sonata. You will notice the alter- 
 nating larghetto and allegro. The scherzando in the 
 D major Sonata is prophetic of the piquant scherzo 
 movements which he made his own later on. 
 
 Beethoven — g 
 
194 Conversations on the Pianoforte Classics. 
 
 A Rondo in A, written when thirteen, does not call 
 for attention, but the Duet Variations, written when 
 about sixteen or seventeen (1787) and based 
 Early ^^ ^ theme of Count Waldstein's, are note- 
 worthy. Meanwhile we should mention that 
 the young genius had already become deputy organist 
 and conductor (at the harpsichord) of the town 
 opera orchestra, and this at the age of eleven 
 or twelve. In this way he gained much and 
 varied experience. In 1787 he made his first and 
 a long journey to Vienna, and here he met the 
 great Mozart, who, though he was busy with the pro- 
 duction of his opera, " Don Giovanni," heard the youth 
 extemporise on a theme. Mozart was so impressed that 
 he stepped into the next room and said to his friends : 
 "Pay attention to him, he will make a noise in the 
 world some day or other." His acquaintance with the 
 Von Breuning family began, and through them he 
 acquired a love of English literature. 
 
 You will remember his advice : " Read Shakespeare's 
 'Tempest'" when asked the meaning of the "Appas- 
 sionata" Sonata. 
 
 Another friend was the Count Waldstein, who proved 
 such a friend in need in Bonn and whom afterwards 
 he immortalised in the "Waldstein" Sonata. 
 
 4 <S 4 
 
 With regard to the "Waldstein Duet Variations" 
 we must not forget that all along Beethoven had been 
 
Beethoven (iy8i-i8oo). 195 
 
 The "Wald- writing various compositions for strings 
 stein Tuet and orchestral instruments, and there is no 
 Variations, doubt that the diction used for these got 
 largely into his pianoforte style, and indeed the indi- 
 vidual and dialogue manner of writing for them ac- 
 counted a good deal for the closely-woven thematic 
 style typical of his works m sonata form. 
 
 Wa'd tein Duet. Variation No- 1, 
 
 No 2. 
 
 Hence, you may trace, so to speak, the staccato flute 
 in the first variation, the scintillating violin in the 
 second, the interjected mournful clarinet or flute phrase 
 in the third, a tutti, a full orchestra in the fourth, and 
 so on. 
 
 The variations are in the melodic style, and though 
 not very ingenious, are interesting and well contrasted. 
 
 <& "S 4 
 
 The next work, the Twenty-four Solo Variations on 
 
 a Theme by Righini, 1789, written when about nineteen 
 
 years of age, are masterly and beyond 
 
 :^e ^ ig ini a^j^y^-iiijjg \\^^^ written for their ingenuity 
 
 and resource. Beethoven builds on the har- 
 
196 Conversations on the Pianoforte Classics. 
 
 monic connection very much more than his predeces- 
 sors; mere melody retires into the background, and it 
 is necessary that we impress upon our minds the har- 
 monic progressions from the first, because often this is 
 the only trace we have in some of the variations. You 
 will note here that the first variation retains the melody 
 but alters the harmonies, the second varies the melodic 
 outline, slightly alters the harmonies, but introduces a 
 new and piquant rhythm. No. 3 has a running bass, 
 No. 4 has the melody in the tenor part, and so on. No. 
 7 with its imitation of No. 9 with its double third scale 
 passages are very, free. No. 16 has a syncopated or 
 out-of- joint bass, while No. 19 is a canon in double 
 octaves imitating the theme twixt the hands. 
 
 Righuii Variations. 
 No. 3. Theme. Allegretto . 
 
 P 
 
 mM 
 
 — » — 
 
 j>c 
 
 ^^ 
 
 ^1 
 
 Variation I. 
 
 i^ 
 
 
 dolce 
 
 
 Beethoven follows the custom in makjng the last but 
 
Beethoven (1781-1S00). 197 
 
 one an adagio. Here it is quite in the sonata style 
 and notable for one of the earliest revelations in spirit 
 of the Beethoven as we know him later — full of nobility 
 and pathos. A merry rondo with a characteristic 
 sudden change of key and a mad wind-up with an 
 assai presto melody in the left hind, concludes a 
 remarkable work. This, by the by, was at that time 
 Beethoven's show piece — his cheval de bataillc — with 
 which he astonished his friends. 
 
 ■S =& ts. 
 
 A set of variations on "Es War Einmal" — probably 
 a much earlier work but ascribed to this period, is of 
 no importance. 
 
 <a cS <fe 
 
 We are now at the time when Beethoven was to leave 
 Bonn, for ever, as it seems, destined to settle in the 
 South German or Austrian capital of Vienna, which at 
 that time was the metropolis of the musical world. 
 
 The Bagatelle and Rondos, Op. 51, were probably 
 written in Bonn like the preceding works, but Beet- 
 hoven had a habit of keeping his compositions and 
 constantly polishing them, and those in question were 
 not published until some years afterv^ards. 
 
 Thfe Bagatelles (a term signifyiiig a "trifle") were 
 the predecessors of those small pieces, Field's Noc- 
 turnes, Mendelssohn's "Songs Without 
 
 The Early vVords" and Schumann's "Album." These 
 Bagatelles. , , , . , . . ^ , 
 
 took the place in popular estimation of the 
 
1 98 Conversations on the Pianoforte Classics. 
 
 minuets and rondos and fashionable sonatas now out of 
 date, which were then the consolation of the backward 
 amateur. Probably they were experiments in various 
 styles and movements written at various times. 
 
 No. I of the Bagatelles is in cantabile style and is 
 like an andante out of a sonata. No. 2, a scherzo (play- 
 ful); perhaps the best number is an example of the 
 gay and spirited movement which Beethoven substi- 
 tuted for the more formal minuet of the usual sonata. 
 
 No. 4 is in variation form. 
 
 No. 5, a kind of fantasia, No. 7 a scherzo again, 
 while No. 6, in D, is one of those andantes in song 
 form which we identify as songs without words. 
 
 The two Rondos, Op. 51, are founded on Mozartean 
 themes, and it is only in the characteristic workman- 
 ship that we discern Beethoven's hand. Both 
 
 „ ,, ' are quite in the florid ornamented violin 
 Op. 51. ^ 
 
 style.. You know that rondos have a chief 
 
 theme which appears at least three times with inter- 
 vening episodes. With Mozart and Beethoven the first 
 episode assumes the most important form of a second 
 subject in a contrasted key and at the end is often 
 brought back into the tonic, as in a sonata. This 
 happens in the Rondo in G. The theme in both also 
 gets more elaborate with repetition. 
 
 The main features of the Rondo in C are the unusual 
 transposition of the theme into A flat a.nd the later 
 episode in the remote key of A flat. 
 
 In the Rondo in G it is the unusual allegretto episode 
 
Beethoven (ifSi-iSoo). igp 
 
 in four sharps and altered rhythm which attracts our 
 attention. Apart from these facts, the rondos are 
 neither characteristic nor specially noteworthy. 
 
 We might speak here, in passing, of the easy Sona- 
 tinas, Op. 48, in G and G minor, belonging to this 
 period and written in educational style, and of no par- 
 ticular merit. The Sonatas, Op. 24, will be also con- 
 sidered in this light later on. 
 
 Beethoven departed for Vienna in 1792, at the age 
 of twenty-two. His friend, Count Waldstein, gave him 
 his blessing, and looking on him as the successor to 
 Mozart, then recently deceased, wrote these words of 
 encouragement : " Labour assiduously and receive 
 Mozart's spirit from the hands of Haydn." Previous to 
 this, Haydn, also resident in Vienna, had, on his return 
 from London, paused on his way down the Rhine at 
 Bonn, and was entertained by the Elector. Haydn's 
 praise of the young man Beethoven, led with the 
 Elector's help, to Beethoven becoming a pupil of 
 Haydn, 
 
 <£ 4 c5 
 
 Though master and pupil did not get on very well 
 
 First together, Beethoven dedicated his First 
 
 Sonatas, Sonatas, the Op. 2, to the venerable "Papa 
 
 Op- 2- Haydn," then sixty years of age. 
 
 These were played by Beethoven himself at one of 
 
 Prince Lichnowsky's Friday chamber concerts in the 
 
 presence of Haydn. 
 
200 Conversation^ on the Pianoforte Classics. 
 
 We must still expect to fi.nd traces of Haydn and 
 Mozart for some time, hence you will not 
 Sonata^ be surprised to find that the beginning 
 of the staccato theme of the F minor 
 Sonata is identical with one from Mozart's G 
 minor Symphony in the finale and is also very like that 
 of Mozart's C minor Sonata. We note also that the 
 theme of the adagio is taken from a Pianoforte Quar- 
 tet in C of his own, while the theme of the hnal move- 
 ment Beethoven used in no fewer than four others of 
 his compositions. Reverting, we hnd the opening 
 movement of the sonata clear-cut, bold and impetuous, 
 and abrupt in style. 
 
 No 4. Allegro 
 
 Sonata, No. I, Op. i.. 
 
Beethoven (1781 1800). 201 
 
 Finale. Presstissimo 
 
 "^ III 
 
 ^ :g:g=F=^=^ =rr-|:zE^=E,-:=^-=| ^= E" - | 
 
 The violin phraseology is also in evidence, the spirit 
 throughout is one of restlessness and yearning. We 
 might remember that Beethoven's first work (Op. i) 
 consisted of three trios The first of these suggests 
 again the first sonata, while the third anticipates the 
 style of the C minor (Op. lo). 
 
 The adagio of the first sonata is charming and 
 graceful. It has been interpreted as a child's prayer. 
 
 The style is the polished ornamental one of Mozart. 
 The Haydnish minuet, unsettled in sentiment, gives 
 place to the passionate and dramatic surging of the 
 final prestissimo. The abrupt and energetic chords, 
 the dash and vigour of the whole are truly character- 
 istic of Eeethoven's own personality. 
 
 « 4 <4 
 
 Sonata No. 2 also commences in a bold, pointed style 
 
 and full of whimsical humour. Double counterpoint, 
 
 by which the themes are inverted, comes into 
 
 ona a . , p^J^y ^-^^ later the fragments are impetu- 
 m A major. ... . 
 
 ously echoed in close imitation. The senti- 
 ment is mostly that of Haydn. The style is 
 
202 Conversations on the Pianoforte Classics. 
 
 orchestral, especially in the ever-rising sequential 
 second subject. 
 
 • Sonata, Nj. 2. 
 
 No. 5. Largo appas-ionata. 
 
 
 e- 
 
 
 The largo appassionata shows us the depth of Beet- 
 hoven's nature. The solemn melody with its march- 
 like staccato bass accompaniment and with its sense of 
 suppressed agitation is most impressive. 
 
 Clementi had written digni&ed simple slow move- 
 ments, but mostly without depth, so this largo 
 movement is probably unique as the first of its kind. 
 
 The final rondo, though a contrast, seems to be a 
 decided falling off, being in light Mozartean style. 
 
 4 4 <% 
 
 The first movement of the Third Sonata in C is also 
 individual in style, but is not specially notable except 
 
 _,, . . for its mixed emotions. The solemn entry 
 Sonata in 0. °^ ^^^ ^^^^ theme, in which one could almost 
 imagine it dedicated to some dead hero, is 
 soon succeeded by the trumpet ff call. 
 
No. 6. Allegro. 
 
 Beethoven (lySi-iSoo). 203 
 
 Sonata, No 3. 
 
 i 
 
 ^25 — ' -^ J_>^ g - -•J • -p J- ^ J -A ~Xl • -J- d— 
 
 _;ff m iicato 
 
 
 The sonorous Clementi clanging broken octaves, 
 broken chords, etc., are strongly in evidence. Later 
 the quasi-fantasia and the cadenza (a showy feature, 
 as we saw, of the Mozart concertos and varia- 
 tions), is interesting and requires to be taken in free 
 style. 
 
 The simple, childlike adagio in Haydn's style, with 
 its somewhat sad episode m E minor, is attractive, as 
 is also the unexpected and characteristic entry in the 
 key of C, taken # and in march style. The piquant 
 scherzo reminds one of the Second Bagatelle already 
 mentioned. Beethoven about this time must have been 
 composing his first two concertos, and his necessary in- 
 creased attention to technique is reflected in this move- 
 ment, with its rush of staccato chords, double thirds, 
 etc. It has been interpreted as a bacchanalian revel, 
 but we find in it simply youthful enjoyment and 
 vigour. 
 
 4 "i ■& 
 
 We see now that these three sonatas constitute a 
 
204 Conversations on the Pianoforte Classics. 
 
 great advance on Beethoven's previous works. Beet- 
 hoven had found his metier in the sonata form. These 
 conibine the sonorousness and power of Clementi with 
 the grace of Mozart, the wit and humour of Haydn, 
 and finally, the depth of feeling and passion of Beet- 
 hoven himself. The works are not characteristic of 
 Beethoven throughout, but they contain much that is 
 acmirable and impressive. 
 
 A set of variations on "Quanto Piu Eello" are saiJ 
 to have been written at this time, though they have 
 undoubtedly a juvenile aspect, and do not claim any 
 special consideration. 
 
 <S <fe 4 
 
 We may now consider the hrst two Concertos, in C 
 
 and B flat, which, though not exactly 
 
 „ ® ""^ representative works, claim more than pass- 
 Concertos. . 
 
 ing attention. 
 
 They were composed not long after Beethoven's 
 arrival in Vienna. He played the one in C in March, 
 1795, at a concert given on behalf of the wodows' fund 
 of the Artists' Society, and both on later occasions. 
 
 Let me remind you of the modified sonata form used 
 in the concerto in which the orchestra takes an important 
 part. The pianoforte part is sometimes spoken of as 
 being divided into three solos. Before the first of 
 these usually came the orchestra, with its condensed 
 exposition of both themes, the following pianoforte 
 solo expatiating on, and ornamenting these to some 
 extent. 
 
Beethoven (lySi-iSoo). 205 
 
 Likewise before the development, or second solo sec- 
 tion undertaken by the pianoforte, comes a brief 
 orchestral introduction, the same process being fol- 
 lowed for the recapitulation section or third solo 
 portion. 
 
 4 "6 <S 
 
 Beethoven's First Concerto in C is decidedly 
 Mozartean on the whole. It opens pp with a march- 
 like theme for the orchestra, and the second 
 certo in C theme makes its first appearance in the un- 
 expected key of E flat. The piano does not 
 at once break into the theme, but into a gentle, soft p 
 introduction. Soon, however, the orchestra bursts in as 
 a reminder with the principal theme, and the pianist 
 immediately begins to weave a kind of variation on it 
 and the two forces ere long hold a friendly dialogue. 
 Interesting modulations and treatment follow in the 
 development part until the orchestra again enters for- 
 tissimo for the recapitulation. The usual cadenza is 
 allowed for at the end. 
 
 First Concerto in C. 
 No. 7. Allegro. 
 
 Orchestra 
 
 
 
 W 
 
 I I 
 
 ■m- M m 
 
 r ^— -Pt-n 1 •-! • 
 
 -i:^-.H-J: 
 
2o6 Conversations on the Pianoforte Classics. 
 
 f 
 
 Si± 
 
 ^^=l^^l=={=*£ 
 
 Orchestra — Strings , 
 
 Rondo 
 Piano Solo 
 
 
 Al'egro sehsrzaiido 
 
 J - J — I — I _ J - 
 S-«_i(-i(-8- 
 
 • a — a 
 
 
 p leggieramente 
 
 -•- •- -•- -f- -•• -B- -•- -•- •■ 
 
 J ' I 
 
 The largo is a delightful movement, full of charm- 
 ing melody and harmonic resource. It begins with a 
 calm, reflective manner, and increases in interest with 
 more and more florid, ornamentation, and is quite in 
 Mozart's flowing and sweet style. 
 
 The scherzo-like rondo is very playful and delicate, 
 the A minor episode being full of fun and dance move- 
 ment. You will notice that a short cadenza is provided 
 by the composer. 
 
Beethoven (lySi-iSoo). 207 
 
 The technical figuration of the work is in the usual 
 Clementi style. 
 
 The concerto on the whole is interesting throughout, 
 though lacking in depth, and in the composer's own 
 characteristic style. 
 
 <S « "4 
 
 The Second Concerto, in B flat, was really an earlier 
 work than the one in C, and does not appear to be equal 
 Second t° ^'^ ^'^ ''■'^y way. The work is mostly written 
 Concerto after the style of Haydn. The first move- 
 in £ flat, jjient, though sprightly and vigorous, is not 
 individual in ideas, though the masterly hand is notice- 
 able in the workmanship. It will be noticed that the 
 second theme is not given out in the orchestral com- 
 position. In connection with this it is well to remember 
 that the second theme in the orchestral exposition 
 usually appears in transposed form, as in the recapitu- 
 lation, owing to the return to the tonic for the soloists' 
 entry; also that the orchestral exposition rarely con- 
 tains all the material. Beethoven usually adds much 
 in the way of development in the second exposition. 
 
 The Mozartean adagio is not remarkable in any way, 
 but is founded on an attractive calm and prayerful 
 theme. 
 
 The rondo is very lively and suggestive of some 
 hunting refrain. It has an interesting second theme, 
 and makes, with its showy arpeggios and double thirds, 
 an effective and brilliant conclusion. 
 
2c8 Conversations on the Pianoforte Classics. 
 
 The next composition, Twelve Variations on the 
 
 Minuet, "A la Vigano," is notable for its freedom of 
 
 Variations resources and boldness of idea displayed 
 
 "A la in the variations, without being far-fetched 
 
 Vigano." in any way. The canon in octaves in the 
 twelfth variation is interesting and is good practice. 
 
 <S « 4 
 
 The Duet Sonata in D, is possibly an early piece; 
 and is quite in Haydn's style. It has two movements. 
 
 It is pleasant, simple and tuneful without 
 Duet Sonata , . . , , . r i i 
 
 in D having particular merit, and is useful edu- 
 cationally. The first movement is vigorous 
 and energetic, while the second, a rondo, has an attrac- 
 tive theme. 
 
 4 « 4 
 
 The Variations on a Russian Dance Theme (a theme 
 which, by the by, is written in the characteristic five- 
 Variations ^^^ rhythm), were written about 1 797 for 
 on a Russian Countess Browne, the wife of an officer in 
 
 Dance. the Russian army. These variations were 
 acknowledged by the gift of a horse, but, musician- 
 like, with his continual absent or preoccupied 
 mindedness, Beethoven forgot all about the horse, and 
 was only reminded of its existence when he was called 
 upon to pay a long bill for its keep. 
 
Beethoven (i^Si-iSoo). 
 
 20$ 
 
 Variations on Russian Dance Theme. 
 
 No. 8. Allegretto ^^ 
 
 ;i: 
 
 Them 3 
 
 dolce 
 
 i^mm ^ 
 
 m 
 
 Variation III 
 
 1 J 
 
 :J^:S3n;rdTqTT 
 
 1 
 
 
 The variations are perhaps more intellectual than 
 effective technically. Some of them are very free, as, 
 for instance, in the third. No. 4 has the melody in the 
 tenor part, No. 7 reminds us of one of the "Variations 
 Serieuses'' of Mendelssohn, while the coda contains a 
 free fugue. 
 
 «. <& * 
 
 The hrst movement of the E flat Sonata, Op. 7, is a 
 
 triumph of art in the sense that the complaisant 
 
 Mozartean theme is not exactly an inspired 
 
 ^ ^*i „ one, but that, together with the development 
 Sonata, Op-7. , , ., 
 
 of ideas and the expressive second theme, a 
 
 highly satisfactory movement is evolved. One notices, 
 
 'for instance, the inversion of themes, the constant 
 
 breaking up of themes, and the imitation in various 
 
 keys in the development section and combination of 
 
 Beethoven — S 
 
2io Conversations on the Pianoforte Classics. 
 
 themes at the close. The coda at the end of the &rst 
 movement should be noted. Beethoven made much of 
 these extensions. Here he uses the first theme again 
 to round off the whole. 
 
 Sonata, Op. 7. _ 
 
 No. 9. Largo ^ I n 1 V 
 
 iippSisiaif^liiit 
 
 1 ' 
 
 • -jh -^- -• -• ^'s !!8 'a 
 
 In the lofty and soulful largo we have nothing but 
 Beethoven himself. Calm and reflective, the movement 
 rises to moments of exaltation, especially in the modu- 
 lation to the key of A flat, where there is a kind of 
 pizzicato (a plucked) 'cello-like bass, reminding one 
 of a string quartet. 
 
 Towards the end the melody appears in the tenor. 
 You will notice the effects of the rests. Elterlein speaks 
 of this dramatic and powerful movement, interpreting 
 it as " Fate knocking at the door " and a yearning after 
 a better world. The minuet allegro and flnal rondo 
 lean rather much again to Haydn and Mozart. We 
 note the canonic or imitative passage in the allegro 
 and its original trio in the minor. 
 
 In the rondo there is a kind of interesting dialogue 
 between treble and bass, and later a very vigorous 
 episode in the relative minor mode. 
 
Beethoven (ij8i-i8oo). 211 
 
 About this time were written the "Six Easy Varia- 
 tions on a Swiss Air," composed probably for a friend 
 and with a view to educational purposes, also the varia- 
 tions on an interesting theme of Gretry's, " Une Fievre 
 Brulante." These are useful educationally, but not 
 otherwise of note. 
 
 <fe tfe i4 
 
 In the Op. 10 C minor Sonata we note its foundation 
 
 on the style of Mozart's C minor Sonata, to which, 
 
 C minor however, it is superior in the depth and 
 
 Sonata, sincerity of its second subject and in the 
 
 Op. 10. connecting work. Like that, it breathes 
 also determination mingled with regret. Its subject is 
 equally abrupt. 
 
 The adagio is Mozartean, but perhaps deeper in 
 feeling than usual with Mozart. It is calm and con- 
 templative in character, turning over, as it were, some 
 sweet but regretful reminiscence. 
 
 The hnale is much more original. It is playful and 
 full of humour, while the impressive second theme 
 comes as a pleasing change. 
 
 The sonata on the whole is more homogenous than 
 the last, and the movements blend better. 
 
 The F major Sonata of the Op. 10 is full of humour, 
 quite Haydnish in spirit, but revealing Beethoven's 
 
213 Conversations on the Pianoforte Classics. 
 
 T major touches in some unexpected strokes. The 
 
 Sonata, first movement may be said to interpret 
 Op. 2, No. 2. a, playful game at hide and seek with a 
 merry song trolled forth in the second subject. 
 
 The allegretto is more original in style and also 
 further presents a marked contrast to the first move- 
 ment. The sprightly traditional Haydn minuet form 
 is here hlled with suppressed supernatural feeling and 
 approaches more the original Beethoven scherzo. 
 
 We notice the characteristic explosive sforzandos. 
 The spirit of the movement is almost like the presage 
 of a coming storm. 
 
 With the presto follows almost a feeling of relief. 
 This movement takes up again the humour of the first 
 and almost suggests a jollification of a band of stu- 
 dents who sing out the theme one after another in 
 fugal style. It is Haydnish in matter but Beethovenish 
 in its modulations. We notice, for instance, how the 
 second half starts off at a tangent in the key of A flat. 
 Its performance requires great distinctness, the tempo 
 is quick but not very quick. 
 
 4 4 "fe 
 
 The next Sonata in D is the best of the Opus lo, 
 
 and a great work as regards the first two move- 
 
 . ments. It is somewhat symphonic in 
 EouatamD. ^ , t i i , , ^ 
 
 Op. 10. style. Like the last sonata, the first 
 
 movement is filled by a spirit of playful- 
 ness and humour which you see by now is such a char- 
 acteristic of Beethoven as well as of Haydn. 
 
Beethoven (ij8i-i8oo). 213 
 
 Sonata in Di Op. 10. 
 
 No. 10 Presto . _ • T^ 
 
 ^m^^^^~ 
 
 Beethoven's method of work is noticeable here. The 
 first section has many of these fragments of the theme 
 which are tossed from one voice to the other, mingled 
 with the usual sforzandos. The development section 
 starts off dramatically in the unexpected key of B flat. 
 The sforzandos are hurled out as before, and the whole 
 movement goes like a whirlwind, full of dramatic and 
 stormy life. 
 
 The largo movement is a complete contrast, and 
 evinces great depth of feeling. "Slowly and sadly" 
 is the direction. The theme arises in billows of grief, 
 waves of sadness with intervals of reflection, a wail of 
 sorrow, as it were, punctuated by ejaculations of 
 despair. The theme in the second half breathes forth 
 a prayer full of nobility. The movement reveals to us 
 much of the fatality of feeling and struggles against 
 destiny apparent in Beethoven's own personal 
 utterances. 
 
 The minuetto, with its graceful theme, forms another 
 contrast, while the rondo, with its prominent inversion 
 of themes, is similar in style. Neither appeals to us. 
 
214 Conversations on the Pianoforte Classics. 
 
 especially after the heights reached in the fi^rst two 
 movements. 
 
 4 <^ 4 
 
 We now come to the first sonata, which is con- 
 sistently characteristic of the great composer himself 
 throughout. 
 
 The "Pathetic'' Sonata was Beethoven's own title, 
 "Pathetic" '^'^'^ ^^^ hrst of his sonatas to attain great 
 
 Sonata, popularity. Here, again, like the largo 
 
 Op. 13 from the last sonata, we have the tragic 
 ind noble exemplified. 
 
 The warning and prophetic introduction entitled 
 grave, prepares the listener for the tale of woe, as of 
 some old ballad, which is unfolded in the following 
 allegro. In the allegro portion we have the rolling 
 octave bass against which are flung the sharply decisive 
 staccato chords, a;iid the repeated long crescendos, pre- 
 senting to us a dramatic story which is interrupted by 
 the recurrence of the warnmg " grave " movement. 
 
 Op. 13. 
 
 Path3lic So:iata. 
 No. II. _ 
 
 G aoe f 8. "-,, ' -^ j^ n,_ — =^ 
 
 G aoe f •-^- •£ 
 
 
 The tempest is resumed in the development section 
 
Beethoven (iy8i-i8oo). 215 
 
 in the same abrupt heaven-storming manner till the 
 final crashing chords terminate the movement. 
 
 The adagio cantabile is at first soothing in its spirit, 
 and, as it were, inculcating a feeling of hope and trust. 
 In the intervening episodes it gradually uplifts the 
 hearer till one becomes resigned to fate. 
 
 The rondo forms a fitting complement to the first 
 movement without being in any way an anti-climax. 
 In spirit it is, as it were, a kind of echo of the storm 
 that is past. Rondo-like, we have the theme four times 
 in all. We note in the intervening second episode the 
 contrapuntal and imitative work, the inversion of the 
 theme in itself at its third appearance, the characteristic 
 return in the coda, and the final fiery close. 
 
 <fe « 'S 
 
 The two Sonatas, Op. 14, No. i, in E, and No. 2, in 
 G, are dedicated to Baroness Braun, the wife of a 
 Educational Russian officer. Both are Haydnish in 
 
 Works, manner, but characteristic in develop- 
 Op.l4aiid49.jj^gj^^ The first, in E, was at the outset 
 intended as a string quartet, and bears signs of its 
 origin. It was sketched out in 1795 before the First 
 Sonatas, Op. 2, appeared. Both sonatas were possibly 
 intended as educational works for his patron. They 
 are in educational style and slight in calibre, inter- 
 esting as educational essays in Beethoven's style, but 
 not as whole works apart from the characteristic work- 
 manship, inversion of themes, etc. The best move- 
 
2i6 Conversations on the Pianoforte Classics. 
 
 ments, educationally speaking, are the rondo from the 
 first, and the charmingly simple variations from the 
 Second Sonata of this Op. 13. 
 
 The educational Sonatinas, Op. 49, in G minor and 
 G major, may here be mentioned. They are appro- 
 priately slight in manner. The minore in the Sonata in 
 G had already appeared in ths Septet, Op. 20. 
 
 Beethoven himself fancifully explained the first 
 movement of the Second Sonata in G, as a dialogue 
 between two lovers, and the dialogue portions are 
 easily traced; something also of the alternate phrases 
 in the treble and bass obtains in the light and playful 
 scherzo movement. 
 
 About the year 1799 were written three sets of varia- 
 tions. The first set of these, on Salieri's theme, "La 
 Stessa," though simple and melodic in style, is not 
 notable except for the free style of the coda. The 
 next set on a graceful and simple theme by Winter 
 is pleasant and agreeable in style and educationally 
 useful, and, like the last, mostly in melodic form. The 
 coda is notable for the imitation in the molto allegro. 
 
 « « <fe 
 
 Von Bulow has published in the Universal Edition 
 three sets of Beethoven's variations with educational 
 notes on those in the Righini theme, the Russian dance 
 theme and the air by Winter. Regarding the last 
 set, he says : " Even for advanced players (students of 
 Schumann, for example) it is really a useful study to 
 
Beethoven (lySi-iSoo). 217 
 
 learn to play works of this quaint, old-fashioned style 
 with a simple freshness and taste. Very likely the 
 student cannot all at once put himself into the sort of 
 parrot-like frame of mind necessary, but in that case 
 he had better study the style of the piece after he has 
 learnt the variations." 
 
 The variations on the trio, " Tandeln und Scherzen " 
 also seem to be in the melodic educational style, only 
 here the technique is freer. A fanciful and florid 
 Mozartean Variation (No. 8) and the fugato in the 
 hnale may be pointed out. 
 
 The Sonata in B flat, Op. 22, written in the winter of 
 
 1 799- 1 800, was the first entitled as being written for 
 
 the pianoforte only. We have noted that 
 
 a ^ ^» nr. Clementi had written his sonatas for the 
 flat. Op. 22 
 
 piano only from 'the first in 1770, and that 
 
 Eeethoven made much of Clementi as a model. The 
 technique in this sonata is quite in the Clementi style, 
 though ungainly and uncomfortable in some places to 
 a modern. Like the Op. 13 and the last set of varia- 
 tions, it is dedicated to Count Browne, and from the 
 way it is laid out one concludes that, to some extent at 
 least, it was intended for educational purposes. At 
 this time Beethoven was engaged in his C minor Con- 
 certo, and the technical aspect would no doubt be much 
 in his mind. 
 
 The straightforward vigorous themes and the ele- 
 
2i8 Comersaiions on the Pianoforte Classics. 
 
 mental technique point to an educational work on the 
 lines of dementi's educational sonatas. 
 
 t 
 
 The first movement is Mozart and Clemen ti, the 
 second pure Mozart, while the minuet and rondo are 
 strongly Haydnish. 
 
 The rondo contains some interesting inversions of 
 themes. 
 
 'I he work as a whole dees not come up to the level 
 of the Op. 27, 10, or 13. 
 
II. 
 
 Beethoven (1800-14). 
 
 T^HE Third Concerto, in C minor, stands on a much 
 J higher platform than thq other two concertos. 
 
 Truly an inspired work, at least in the first two 
 The Third movements; it may well be classed with 
 Pianoforte the "Pathetic" Sonata and C minor Sym- 
 Concerto. phony, works m a measure akin to, and 
 
 probably suggested in a way by the C minor Sonata 
 
 of Mozart. 
 
 The mysterious first theme epters sotto voce and is 
 
 succeeded by the cry of the oboes and bassoons rising 
 
 in sympathetic waves of melody till the full orchestral 
 
 tutti is reached. 
 
 C minor Concerto. 
 No. 12. Allegro 
 
 lutti 
 
 P 
 
 
 ?a 
 
 t 
 
 -A. .&■ " * -a- :.- -3. .5. _. 
 
 -g"3-: 
 
 ~^= 
 
220 Conversations on the Pianoforte Classics. 
 
 A sweet but serious second theme appears. The 
 main theme is soon again heard in strident octaves, 
 and in canon form, thus leading the way for the soloist, 
 who begins to weave his elaborations, with increasing 
 brilliance and resource, through the different sections. 
 
 The largo is a beautiful and noble movement, which, 
 in its loftiness, is almost religious in its tone. 
 
 Later in this movement a sustained second theme is 
 handled in turns by the bassoon and flute, while the 
 pianist endows it with rich ornamental imagery — a 
 scintillating arabesque of sound charming to listen to. 
 
 The rondo strongly brings to mind the atmosphere 
 of the "Pathetic" Sonata. 
 
 At first it seems somewhat a falling-off on the pre- 
 ceding movements, but later it increases in interest 
 just before the entrance of the C major episode, and a 
 brilliant climax is reached at the conclusion. 
 
 Vou will notice there is a cadenza after the second 
 appearance of the theme, shortly followed by a little 
 bit of fugato in the orchestra and an enharmonic modu- 
 lation (in the ensuing pianoforte solo) to E major. 
 The final cadenza and coda introduce also a change to 
 a piquant coda in 6-8 time. 
 
 <4 4 4 
 The Six Duet Variations on a song theme, "Ich 
 denke dein," are unassuming, mostly melodic in style 
 and of no particular merit. Beethoven's 
 
 „'^. .^^ duet works are indeed, as compared with 
 variations. ^ 
 
 Mozart and Clement], somewhat disappoint- 
 
Beethoven (i8oo-i^). 221 
 
 ing. It is apparent that he did not give serious 
 attention to this branch of the art. 
 
 This applies also to the later Three Marches, Op. 
 45, though these are straightforward, tuneful, and to 
 some extent characteristic. 
 
 Possibly the duets of Beethoven were more or less 
 educational in intent and sketched out at an early 
 date. 
 
 4 <fe 14 
 
 The pretty Six Easy Variations on an Original 
 Theme (of circa 1800) are melodic in style, and though 
 obviously educational, are interesting and attractive. 
 
 We come now to a group of sonatas written about 
 the year 1801. The first of these, the A fiat Sonata, 
 Op. 26, is one of the most popular of the sonatas as 
 well as one that is quite characteristic of the composer. 
 
 We have, in fact, arrived at a period in which 
 Haydn and Mozart's influences are mostly relegated to 
 
 Sonata t^e background. Curious to relate, this 
 in A flat, work contains no movement in sonata form. 
 
 Op. 26. Like Mozart's Sonata in A, it commences 
 with an air with variations, which seem to grow natur- 
 
222 Conversations on the Pianoforte Classics. 
 
 ally out of the theme. They are mostly based on the 
 melody and should be taken at a uniform pace, and 
 without separating pauses. 
 
 4 4 4 
 
 The different time indications given in some editions 
 of this Sonata in A flat do away with that "'classical 
 repose ' which here is a constituent charm. The utmost 
 should be made of the expression marks, and for this 
 purpose the suggested editions of Germer and others 
 are useful. 
 
 It is well known that until recently composers were 
 content to indicate the main lines of expression and 
 phrasing. Beethoven was particular as to 
 Additions ^'^ rhythmical value of the notes and the 
 explosive effects, sf, if, etc., but was often 
 content as regards phrasing to insert merely legato 
 slurs from bar to bar. 
 
 The ability to phrase correctly implies a knowledge 
 of musical structure or form.* 
 
 The dynamic interpretation, the ebb and flow of 
 feeling by crescendo and diminuendo, etc., is also im- 
 portant, for just " as the rhythmical forms stand for the 
 swelling and subsiding of the passionate life of the 
 soul, so we trace the same through the 'row of motives' 
 
 * Prout's " Form," Saunders's " Phrasing '' Introduction to 
 Germer's edition of Beethoven's Sonata", etc. 
 
Beethoven (1800-14). 223 
 
 to sections, each of which has its own dynamic centre 
 of gravity." (Germer.) 
 
 The carrying out also of a sequence previously com- 
 plete but crippled in another portion by the short 
 compass of the keyboard of that era is a matter to be 
 considered ; as well as the fixing of a medium tempo ; 
 one often grossly hurried by unthinking virtuosos for 
 mere display's sake. Then there is the appropriate use 
 of the sustaining pedal, which is usually out of place 
 in closely reasoned and polyphonic passages. 
 
 As regards general style we must remember that 
 Beethoven put boldly into relief all suspensions and 
 discords. We must keep in mind also the forceful 
 style associated with his interpretation of his own 
 works. 
 
 In the present variations (Sonata in A flat, Op. 26) 
 the dynamic signs, the skips to the melody notes in the 
 left hand of the second variation, and the legatissimo 
 of the fifth should be particularly noticed. 
 
 The graceful and light winged scherzo with its sus- 
 tained and contrasted trio is interesting and typical of 
 the composer. 
 
 The Funeral March (the death of a hero) is a truly 
 sublime composition. In its striking modulations, its 
 air of grandeur and appealing diminished sevenths, we 
 recognise in it a definite tone picture which is at once 
 strikingly characteristic. 
 
224 Converations on the Pianoforte Classics. 
 
 Sonata in A flat. 
 No. 13. Funeral March 
 
 3 , -i— |-- -■- -•-.-»- -•-. -••rC-. -•- °ir> -' 
 
 Maestoso Andante 
 
 'St^^=^\-^^i^=^\^ 
 
 -1= 
 
 It is said that Beethoven once contemplated giving 
 titles to all his sonatas, but unfortunately the intention 
 was never carried out. The intent of this movement, 
 however, could not be mistaken even were the title 
 omitted. 
 
 In the rendering of the march the graded interpreta- 
 tion of the long sustained crescendos is most important. 
 
 The final allegro is a kind of rondo-toccata, and 
 appears at first sight to be something of an ante- 
 climax. 
 
 It may be that after the emotional strain of the last 
 movement Beethoven thought that a relief was neces- 
 sary, one on which the technical powers of the per- 
 former could be brought out and a playful brilliant 
 finish be brought about. We notice the toccata-like 
 subject, technically constructed and freely treated in 
 contrary motion and in inverted position in different 
 keys. 
 
 4 4 « 
 
 The Sonata in E flat, Op. 27, No. i, like the last, has 
 
Beethoven (1800-14). ^25 
 
 also no movement in sonata form. The added title, 
 
 SoLata Quasi una Fantasia, possibly refers to this 
 
 in E flat, feature, and to the somewhat lack ol unity 
 
 Op. 27, No. 1. between the various movements, as well as 
 
 to the slight character or general want of depth or 
 
 stability. 
 
 The first movement is a mixture of "song without 
 words" style with rondo form. The first part requires 
 delicacy of treatment, and the allegro goes with a kind 
 of " don't care " inconsequential humour. The mysterious 
 scherzo, allegro molto e vivace, also requires similar 
 light treatment. 
 
 The expressive and characteristic short introductor) 
 adagio movement is quite Eeethovenish in style. The 
 cadenza should be interpreted in a subdued manner. 
 
 The playful and humorous final allegro, vivace 
 seems to be in the style of a scherzo. It is in rondo 
 form and the figuration suggests the toccata element. 
 An attempt, by the way, to give unity to the whole 
 work is made by the insertion of a refrain at the close 
 taken from the first movement. 
 
 <5 4 t& 
 
 The " Moonlight " Sonata, in C sharp minor, Op. 27, 
 
 No. 2 : The added title of this world-famous sonata, 
 
 "Quasi una Fantasia," refers in this case 
 
 " Moonlight " rather to the manner than the actual form, 
 
 O ^2rN^o 2 ^•^•' ^° ^^^ "^°"^ without Words" style of 
 the first movement, as well as to the spirit 
 or free style pervading the fiery finale. 
 
 'Beethoven— I, 
 
22b Conversations on the Piano) orte Classics. 
 
 Beethoven is evidently trying to get further and 
 further from the beaten track of conventionality. 
 
 A romantic but unsubstantiated story has been built 
 upon the dedication to the Countess Guicciardi. The 
 spirit of romance, however, is present in the adagio, 
 with its ebb and flow of sympathy, pathos and passion. 
 
 The movement interprets itself, and is no doubt 
 responsible for the popular title of the " Moonlight " 
 Sonata. To bring out the meaning delicate treatment 
 is necessary, and not too slow a pace. Eoth pedals 
 must be used, the sustaining pedal being released with 
 each change of harmony. 
 
 Moonlight Sonata. 
 No. 14. Presto agitato 
 
 ^=yi 
 
 
 " — • A-i-'-a-i-' — r •-— F-»— • f 
 
 
 ■□"- 
 
 -•- 
 
 Contemplative dialogue punctuated by sotto voce 
 cadences, seems to be the inner meaning or description 
 
Beethoven (1800-14.). 227 
 
 of the allegretto. It is the calm before the storm — an 
 outwardly tranquil farewell, followed by the storm of 
 remorse and despair depicted in the presto. In tlic 
 presto the ebb and flow of passion is reflected as in the 
 adagio, but now it is immensely intensified. The 
 storm of the emotions is powerfully depicted in the 
 cantabile G sharp minor episode, the abrupt staccato 
 chords, as well as in the restless torrent of wild 
 arpeggios. 
 
 4 * s& 
 
 Pastoral Sonata, Op. 28 : The title " Pastoral," un- 
 doubtedly appropriate, was originally bestowed by the 
 ' Pastoral" publisher Cranz. The drone bass, the 
 
 Sonata, tranquil flowing quaver movement, and the 
 
 Op. 23. dialogue interchange of phrase, in orches- 
 tral manner, all stimulate the ideas expressed by the 
 word "pastoral." 
 
 The andante was a favourite movement of Beet- 
 hoven, and often played by him. The same passive 
 spirit, the drone bass and slowly changing harmonies 
 are present as in the first movement. A kind of varia- 
 tion on the main theme afterwards brightens the move- 
 ment a little. 
 
 Bucolic repose likewise tranquilises the otherwise 
 characteristic scherzo and rondo with a repetition of 
 the previous devices. In the rondo Reinecke hears 
 distant bells and rustling winds. Such an atmosphere 
 
228 Conversations on the Pianoforte Classics. 
 
 truly seems to pervade the whole work, which is strik- 
 ingly consistent throughout. 
 
 In the andante, the legatissimo and staccato effects 
 must be contrasted carefully, while in the rondo the 
 melody must be sought for in the broken chord 
 passages. 
 
 No. IS. Andante 
 
 Pastoral Sonata. 
 
 :2:: 
 
 -i"'5s.,^ ^V 
 
 
 :±3irf— 3f!.«,!ii=Jin:i^:.iz1-i^-i-?-j:.«-t-™— I 
 
 p n: 
 
 ^ 
 
 ET^&i^EfE 
 
 J— ii 
 
 Finally the orchestral diction of the work is plainly 
 seen. The pizzicato bass passages, the violin long- 
 bowed phrase, the melancholy flute triplets, etc., seem 
 to stand out from the picture. 
 
 4 « 4 
 
 We have now seen how that Beethoven is an innova- 
 tor and experimenter in sonata form and all its con- 
 
Beethoven (1800-14). 229 
 
 stituent details. About the time that he 
 
 ' . ' ■ 'wrote the orchestrally minded "Pastoral" 
 
 Sonata he remarked to a friend, Krumpholz 
 
 by name : " I am hardly contented with my work thus 
 
 far, from now I shall take a new road." The result of 
 
 his intention is seen in these sonatas, Op. 31, which are 
 
 A More clearly more pianistic in style. The evi- 
 
 Pianistic dences of this are found: (i) in the more 
 
 Style, purely harmonic style; (2) in extended 
 
 harmony portions, necessitating the use of "the soul 
 
 of the piano" — as Rubinstein calls it — the "pedal." 
 
 The analytical, thematic style and "interweaving of 
 parts " of Beethoven, derived from his devotion to 
 orchestral and symphonic music, is seen now to be less 
 in evidence (not more as Germer has it), i.e., until we 
 reach the "Waldstein" Sonata, Op. 53. 
 
 ■fe <S 4 
 
 The weaving of parts, whether polyphonic or 
 thematic is somewhat opposed to a truly pianistic 
 Beethoven's ^'^X^^- O"^ ^he other hand, the use of 
 
 Use of extended harmonic passages with the dis- 
 the Pedal, creet use of the sustaining pedal is the 
 essence of pianism. 
 
 Though Beethoven himself "used the pedal a great 
 deal, far more than is indicated in his works " (Czerny), 
 "a sparing use of the pedal " (KuUak)" says, "is on the 
 
 ■■= ".Esthetics of Pianoforte Plavin<r," Schirmer, 
 
230 Conversations on the Pianoforte Classics. 
 
 whole to be recommended" in Beethoven's composi- 
 tions. The reason is apparently clear since despite his 
 experiments in the F major and "Waldstein" Sonatas 
 his works are too much founded on the analytical 
 thematic method throughout to be really pianistic in 
 the modern sense. 
 
 If we look at Reinecke's edition of the sonatas 
 (Reinecke Gebriider) as based on the original text with 
 all deviations put in brackets, we find that there are 
 no pedal marks at all until we reach the "Moonlight" 
 Sonata, and though composers both old and new, 
 according to Hans Schmitt, taking it for granted that 
 those who play these compositions possess sufficient 
 intelligence to manage the pedal properly, fail to give 
 directions for its use* the original cause of this in 
 Beethoven's case is largely the structure of the music 
 itself. 
 
 4 'S <fe 
 
 Turning to the Sonata in G, Op. 31, No. i, we find 
 
 the allegro full of humour and charm. 
 
 On 31 No ]' ''■'™o^ ^ scherzo in style so light is it and 
 
 full of frolic. 
 
 The whole movement goes with great energy and 
 
 life, and yet with delicacy — like a mad fairy gambol. 
 
 We note the tentative opening theme on tiptoe as it 
 
 * "The Pedals of the Pianoforte," Hans Schm'.tt. 
 
Beethoven (1800-14). 231 
 
 were, and the second subject in the somewhat remote 
 key of four sharps with the usual (in such cases) double 
 transposition in the recapitulation (a fourth above and 
 then in the tonic). 
 
 The graceful adagio movement is obviously inspired 
 by the aria, "In Native Worth," from Haydn's "Crea- 
 tion,'' a work at that time extremely popular. We 
 recall that Papa Haydn meeting his one-time pupil 
 Beethoven, in the street, had chaffed him over some 
 compositions saying : " You are right, it is no Creation 
 anyhow." In a similar sense this adagio is no creation, 
 but it may perhaps be taken as a graceful compliment 
 on the part of the younger man. 
 
 It is in rondo form, and each succeeding entry of the 
 theme is, we note, more and more ornamentally treated 
 in the florid Italian style. The expressive theme is 
 adorned by piquant staccato accompaniments, graceful 
 turns, successions of trills and ethereal cadenzas. 
 
 In the rondo the Haydn atmosphere is still apparent 
 in its innocence and gaiety, while the ornamental part 
 is confined to the constant triplet, broken chord and 
 octave accompaniment. The movement (except the 
 interesting cadential presto finale) should not be 
 quicker than allegretto — as marked. 
 
 The whole work though characteristic in method, 
 suggests to us the spirit of Haydn. In matter it is 
 harmonic, almost throughout, i.e., it is either in the 
 style of accompanied melody or chorda} work more or 
 \es5 ornament^4.. 
 
232 Conversations on the Pianoforte Classics. 
 
 D minor Concerning the D minor Sonata, No. 2 of 
 Sonata, the Op. 31, an unusual feature of this fine 
 op. 61 No. 2. ^YQj.}^ {g ^jjj^(- aji jjig movements are in sonata 
 form. 
 
 In manner we discern a meditative playful and 
 fanciful humour pervading the first movements, with 
 episodes in Beethoven's most forceful and stormy 
 humour each rising in sequence form to an exciting 
 climax. 
 
 \ 
 
 ) 
 
 1 
 
 D minor Sonata, Op. 3I1 No. 2. 
 No. 16. Adagio 
 
 mm 
 
 - »- ■ — 
 
 p Fed. 
 
 .- 1^- 
 
 ^r6-ii: 
 
 -••• ^- 
 
 -•- 
 
 i 
 
 M^l^ 
 
 :b— s 
 
 — — I- 
 
 -a -- 
 
 — S.-! 
 
 Ei^ 
 
 P«d. 
 
 
 "=^-; 
 
 Tracing the connection with Shakespeare's "Tem- 
 pest," to which Beethoven referred his friends, we may 
 thus identify on the one hand the element of sprites 
 and fairies, and on the other the storm or "tempest" 
 from which the play took its name. 
 
 The beautiful adagio shows in its harmonic structure, 
 
Beethoven (1800-14). 233 
 
 something of the modern necessity for the sustaining 
 pedal, and therefore an indication of Beethoven's new 
 style. The movement is full of calm, serene . deep 
 feeling and a sincere longmg. Maybe we can connect 
 it with the sorrows of the shipwrecked Prince Ferdin- 
 and. After the introductory meditative first theme, an 
 episode arrives in the form of a beautiful melody, 
 which, with its ebb and flow of sadness one may 
 almost think of as a lament by the seashore. Later we 
 reach the calmer waters of the second theme in F. We 
 note also the impressionistic effect of the accompany- 
 ing tremolo triplets in the bass and treble, and the 
 elaborate ornamental variation work, which, by the 
 way, should be kept more or less in the background. 
 
 The simplicity and nobility of this adagio are very 
 characteristic of Beethoven, and make a strong appeal 
 to the student. 
 
 In the allegretto the meditative and playful mood 
 of the first movement is continued, but in the figura- 
 tion of a kind of toccata or moto perpetuo. In place 
 of the storm episodes, however, we have happiness and 
 brightness. On the whole we may think of it as 
 picturing the fairy atmosphere, and the happy termina- 
 tion which we find in the play. The movement should 
 be taken allegretto only, and the thread of melody in 
 the broken chords should not be overlooked. The 
 main theme reminds one of portions of a sketch 
 entitled "Fiir Elise." At a distance of forty bars 
 from the end of the first movement can be instanced a 
 
234 Conversations on the Pianoforte Classics. 
 
 phrase, which Beethoven, by the short compass of the 
 instrument then in use, was prevented from carrying 
 out. -See the parallel in the first part of the move- 
 ment. A desirable extension of the phrase is given in 
 several editions of the sonata. The sonata as a whole 
 strikes us strongly by its unity of idea and develop- 
 ment. It was a favourite with Beethoven and often 
 played by him in public. 
 
 <fe cfe 4 
 
 To this year (1802) belong also the Variations in F, 
 Op. 34, and those in E flat with fugue, Op. 35, which 
 Eeethoven indicated were also in different style and 
 were to be digni&ed by opus numbers, as well as two 
 boyish Preludes, Op. 39, which it is possible, were pub- 
 lished without the master's sanction. 
 
 Variations on a Theme in F, Op. 34 : In the Op. 34, 
 Beethoven, the innovator and musical revolutionist. 
 Variations ^-"^^^^ another experiment; for in this work, 
 on a Theme the variations, mostly melodic in style, are 
 in F, Op. 34. nearly all in different rhythms and different 
 keys. 
 
 The contemplative adagio theme in F becomes in 
 Variation No. i an ornate Andante in D (2-4 time). 
 
 No. 2, a kind of Scherzo Rondo in B flat (6-4). 
 
 No. 3, Moto perpetuo in G (4-4). 
 
 No. 4, Minuet in E flat (3-4). 
 
 No. 5, Funeral March in C minor (2-4). 
 
 No. 6, Rondo in F (6-8). 
 
Beethoven (1800-14). 235 
 
 An attractive coda with a florid raolto adagio and 
 cadenza concludes an ingenious and interesting work. 
 
 4 =6 * 
 
 Fifteen Variations and Fugue on Theme in E flat, 
 Op. 35 : On this composition hangs a story. Steibelt 
 Variations — ''• favourite composer of the period, but 
 and Fugue, now forgotten except for some studies of 
 Op. 35. jiis — jjjg^ Beethoven in Vienna, and a 
 friendly competition ensuing, Steibelt improvised on 
 a theme already treated by Beethoven. 
 
 i'he latter incited by friends reached out for Stei- 
 belt's quartet which had been performed, picked out 
 the bass part of the opening theme, and then impro- 
 vised so artistic and wonderful a composition that poor 
 Steibelt, quite vanquished, vanished from sight and 
 never sought Beethoven's presence again. The impro- 
 vised composition forms the basis of these Variations, 
 Op. 35- 
 
 Theme of the Variations, Op. 35. 
 No. 17. Allegretto Vivace 
 
 m^^sM^^M^\m 
 
 w 
 
 Theme evolved from the above. 
 
 i- > \ I. N I ^ d 
 
 
 etc. 
 
 -•- -A- -0- 
 
236 Conversations on the Pianoforte Classics. 
 
 After weaving variations in two, three and four 
 parts over the bass part, a graceful theme is developed 
 in addition over the original bass. There are thus two 
 subjects for variation. The bass subject appears as the 
 theme in the fourteenth (a minor variation), and as the 
 subject of the final fugue. The evolved theme does 
 duty for the rest of the variations. These are either 
 built out of the melody or based upon its accompany- 
 ing harmonies. The customary slow final Variation 
 No. 15, is the most interesting. The freely written and 
 effective fugue is followed by another attractive varia- 
 tion in which the left hand has part of the theme. 
 
 <fe <fe <fe 
 
 Sonata in E ■'■'^ ^^^ y^''-'^ ^^°3 "^^^ finished the third of 
 flat Op.. 31 the Op. 31, the Sonata in E flat. 
 
 No. 3. If Beethoven had added suggested titles 
 
 to his sonatas as he once contemplated doing it would 
 have been interesting to see how he would describe this 
 Sonata in E flat — perhaps as a dialogue between two 
 lovers. The question or interrogative motive so fre- 
 quently repeated — the arch and ccquettish episode 
 leading to the happy second theme in B flat — the ques- 
 tion motives in the bass in the development section — 
 the tender cooing in the succession of shakes previous 
 to the coda, are all suggestive and might be given 
 characteristic expression. 
 
 The scherzo, which is to be taken allegretto only, 
 
Beethoven (1800-14). 237 
 
 might have been interpreted as a kind of mystic ballad 
 or ghost story. 
 
 The ballad strain of the first theme with fluttering 
 staccato accompaniment, the striking ff chords, fol- 
 lowed by visions of gnomes and goblins, etc, point a 
 tale of their own, indeed, the work as a whole, like the 
 two previous sonatas, might also have been inspired by 
 the happy fairy element of Shakespeare's "Tempest." 
 In the Haydnish but smoothly-flowing minuetto we 
 have quite a foil or contour to the other movements, 
 while a contrast to the minuet again is the original 
 purely harmonic trio. 
 
 Op. 31, N J.J. 
 
 No. 18 Presto con tuoco 
 
 -/^-,i=b:i=t=S' 
 
 i^m^^miw^^M 
 
 y^a- ^0^ |^«^ .g 
 
 The presto forms a most happy finale. Visions of 
 tender romance and the fairy element have quite dis- 
 appeared, and all goes as merry as a marriage bell. 
 Still connecting this last work of the Op. 31 with the 
 "Tempest," we see in it a most fitting and appropriate 
 termination. The leading motive is repeated in a hun- 
 dred different ways, in various keys, and with charac- 
 teristic and unexpected modulations, and finally leads 
 to a brilliant conclusion. 
 
 The veteran Reinecke remarks : " May you live cheer- 
 
238 Conversations on the Pianoforte Classics. 
 
 fully and happy as the finale breathes cheerfulness 
 and happiness." 
 
 <fe <fe 4 
 
 The famous "Waldstein" Sonata, Op. 53, named 
 after Beethoven's old patron and friend, brings to one's 
 " Wald- artistic vision a picture of a whirlwind and 
 stein" the distant storm. The introductory mut- 
 Sonata. tering chords in the bass form the back- 
 
 \ 
 
 Waldslein Sonata. 
 No. 19. AMegro ^^ 
 
 ^J-R 
 
 'B ^-j-h"^ ^~i"S ' 'T^-'^~i-^-'im^2-^~-A^ 
 
 —\- -H- 
 
 :?-• :i: 
 
 1 
 
 
 . — tete--c-- ^- 
 
 -•-•-•—«- 
 
 T:n-qS=r 
 
 ii- -#■ i^- -* -i*- -•- -i/- •^- -■- -^ -4- -*■ -m- 
 
 ground, the melancholy cry of the curlew, a crescendo 
 gust of storm and sudden silence prepare the way for 
 the similar agitato episode and the becalming and 
 religioso second subject in E major. A meditative 
 variation on the latter follows. Nature reassured wakes 
 
Beethoven (1800-14^). 239 ' 
 
 to life again, and a thoroughly pastoral atmosphere 
 closes the first half. 
 
 In the development and recapitulation sections we 
 have the suppressed, restless and pastoral elements 
 brought out in many aspects, and in unexpected com- 
 binations. The movement is a wonderful example of 
 Beethoven's genius for thematic development of whole 
 sections from small phrases. 
 
 We drew attention to Beethoven's more pianistic 
 style, commencing with the Op. 31. Mr. Shedlock 
 "Pianoforte Sonatas") says: "The brilliant technique 
 of Op. 53 has proved a special attraction for pianists, 
 and it has therefore become widely known. With this 
 one sonata Beethoven proved his superiority, even in 
 the matter of virtuosity, over the best pianists of the 
 day." 
 
 The important coda beginning with the main theme 
 in D flat leads to a brilliant cadenza built on synco- 
 pated octaves and contrariwise scale passages. The 
 religioso second subject is again heard — a passing 
 storm from the cloud motive and then comes the paean 
 of joy and triumph in conclusion. 
 
 The halting, dreamy, meditative and yet dignified 
 adagio is not in the style of a regular slow movement. 
 It is meant only as an introduction to the rondo, and 
 this purpose it serves admirably, besides acting as a 
 contrast to the two quick movements. 
 
 In the rondo the pastoral atmosphere is combined. 
 The movement suggests to us a village fete — a picture 
 
240 Conversations on the Pianoforte Classics. 
 
 of rural happiness and merrymaking in which we hear 
 the village bells The song of birds in the busy trills, 
 
 No. 20. 
 
 Rondo. 
 
 legato 
 
 m^ 
 
 senipre fp -= 
 
 ~' ' ""■~'^ fas'—--- SL^SSSS^ 
 
 ;f: 
 
 R = — *» 
 
 :I 
 
 as well as a final burst of joy in the mad prestissimo. 
 Shadows are cast in the A minor and C minor episodes, 
 but the animation nevertheless increases as it ap- 
 proaches the climax. 
 
 Apart from the virtuoso aspect, the sonata is a marvel 
 of close thematic development, and the whole forms a 
 psychological unity, both as regards form, method and 
 spirit or style. 
 
 cfe cfe t^ 
 
 Andante in F. This charming and graceful work, 
 one which requires to be played with considerable 
 
Beethoven (1800-14). 241 
 
 delicacy and expression, was originally in- 
 
 Andante in tended as the slow movement of the fore- 
 F. . . 
 
 going "Waldstein" Sonata. In spite of 
 
 indignant protests Beethoven was persuaded by his 
 friends that the sonata was already long enough, and 
 the result was the substitution of the introductory 
 adagio as we now see it. 
 
 A story is told in connection with the andante, 
 which, when Beethoven had written, he played over to 
 his friends and pupils, Ries and Krump- 
 ^ ^J^k*^*^^^ ^°^^- ^° pleased were they that Beethoven 
 was induced to play it over again to them. 
 Ries, going to Prince Lichnowsky's house, played over 
 what he could remember of the new piece. 
 
 Andante in F. 
 No. 21. 
 
 rfMf^i^=« 
 
 p dolce . 
 
 
 ^ililfliiliii^l^l 
 
 ^^ 
 
 ■fl-r'f 
 
 The Prince, delighted, stored it up in his memory. 
 The next day, by way of a joke, he asked Beethoven 
 to hear something he had been composing, and then 
 launched out on what he could remember of the An- 
 dante in F. The result was unforeseen. Beethoven 
 
 Beethor,pn—5 
 
242 Conversations on the Pianoforte Classics. 
 
 was furious and neither would he play again in private 
 to Ries, nor to the Prince's circle of friends. 
 
 The Andante is in rondo form, the long and com- 
 posite first subject reaching to the entry of the episodes 
 in B flat. We note the characteristic introduction of 
 the remote keys, D flat and G flat, and that the theme 
 appears also to some extent in variation form. 
 
 <fe <fe -S 
 
 The well-known " Appassionata " Sonata, Op. 57, 
 composed in 1806, received its not inappropriate name 
 
 "Appas- from the publishers. In scope and style 
 sionata" it somewhat resembles the "Waldstein" 
 
 Sonata. Sonata. The keynote to the work seems 
 to be of a nocturnal character, and it may be acclaimed 
 as one of the first of those night-inspired imaginative 
 works represented by the " Nachtstiicke " of Schumann, 
 the nocturnes of Chopin and others. It was probably 
 written during a short holiday spent at the house of 
 his friend. Count Brunswick, in Hungary. It is possi- 
 ble that Beethoven, like Schubert, was interested in 
 Hungarian melodies and that the octave second theme 
 in A flat was inspired by Hungarian rhythms with 
 their melodic accentuation of the weak beats. The 
 first movement enters with a sotto voce or ghostly 
 theme, and assumes a meditative aspect. Sighs and 
 regrets arise, only to be dispersed by the stern "knock- 
 ing motive" in the bass, preparatory to the crushing 
 
Beethoven (1800-14.). 
 
 243 
 
 double if chords in which Beethoven momentarily runs 
 riot. 
 
 Appassionata Sonata. 
 
 I 
 
 No. 22. Allegro Assai 
 
 ir- 
 
 ■'J2_- 
 
 -»- -• 1 
 
 
 
 T=n 
 
 ■5:z[=.-.izzr 
 
 © • 
 
 3-^3-^T 
 
 s^iii 
 
 I 
 
 
 (B) 
 
 ^;:li 
 
 (C) • (D) 
 
 ^-.S^ 
 
 V-i--il-J:" 
 
 — ^ «- •- • 
 
 etc. f' 
 
 :^: -f -:- !: 
 
 -•- -•- • • 
 
 & 4 
 
 Assuming an analytic attitude, one may observe how 
 simple and yet how masterly is the development of the 
 
 main ideas. Taken in order, these are : 
 An Analysis ^j^ the simple opening fp chord figure; 
 
 (2) the repetition or "knocking" notes; (3) 
 the cadenza-like passage on a diminished triad, and 
 (4) the double # chords. These, with the two halves 
 of the second subject, make up the material. Com- 
 mencing raw at the Development Section beginning in 
 
244 Conversations on the Pianoforte Classics. 
 
 G minor one observes the following sections: (i) That 
 built on the first simple broken chord theme with its 
 appearance in the bass; (2) the development of the 
 "knocking" motive; (3) the rhythmical second sub- 
 ject expatiated on and followed by (4) a section on 
 the diminished triad passage. 
 
 Now enters the recapitulation of the main theme in 
 which it is combined with the "knocking motive" as a 
 kind of dominant pedal. The ff minor chords now 
 appear in the major, and the recapitulation proceeds 
 as usual. 
 
 It is on reaching the coda that the virtuoso stamp is 
 set on the movement. This portion consists, after a 
 slight reminiscence of the two chief themes, of a bril- 
 liant cadenza on the broken chord figures and then 
 finally the // chord passage presented in climax form. 
 The esthetic attributes are mystery, nobility and 
 restrained passion, coloured throughout by the quasi 
 Hungarian second subject. 
 
 The nocturnal character is continued in the simple 
 meditative andante theme — and the variations are of 
 so simple and melodic a character that the impression 
 remains throughout. The movement is a veritable 
 nachtstiick or nocturne. In this case it leads direct to 
 that nocturnal vision of unreasoning terror displayed 
 in the finale with its storm of the emotions unparal- 
 leled in the pianoforte works of Beethoven. 
 
 Ries says that this movement was conceived by the 
 composer during a stormy night, and fittingly enough 
 
Bcelhoven (1800-14). 245 
 
 we seem to see spectres flitting by, to hear the cry of 
 lost spirits, wails of outraged nature and the tumultu- 
 ous struggle against those terrors which a terrific storm 
 may present to imaginative minds. To this the presto 
 comes as a strain of triumph over the past, a relief and 
 yet a climax to the whole. 
 
 The quasi moto perpetuo or toccata-fantasia style 
 of the movement is unified by its sonata form. It 
 appears to be built on broad lines and contains some 
 imitation in running passages but the main intent of 
 the finale is undoubtedly meant to be impressionistic. 
 
 <fe <& 4 
 
 Thirty-two Variations in C minor (1806). We are 
 aware that the variation form has been made to 
 _,, serve diverse purposes. It may be used 
 
 Thirty-two 'is a mere tricking out of some popular 
 Variations in melody, as an agreeable way of presenting 
 C minor, educational work, or as a display of in- 
 genious and technical resource. 
 
 In the present instance the technical aspect is cer- 
 tainly prominent, and in the day when studies were not 
 Their plentiful, Eeethoven may have had this end 
 Educational specially in view. Indeed the different 
 Nature. technical figures and their concise form in 
 th;s instance make the work an admirable etude. 
 
 Von Biilow, in his introduction to " Three Variation 
 
246 Conversations on the Pianoforte Classics. 
 
 Works of Beethoven" (Universal Edition), and speak- 
 ing of the educational value of the variation form 
 says: "The value of such work for the cultivation of 
 technique and execution, had hardly been attained in 
 any other pianoforte literature before Beethoven's time, 
 and certainly cannot be surpassed." 
 
 Speaking also of the thirty-two variations he says : 
 "These latter during the eighty years since they first 
 appeared, have possessed a charm both in concert room 
 and chamber music such as no variations, no 'Etudes 
 Symphoniques ' in the form of variations have 
 attained, even threatening to thrust all else aside." 
 (1886.) 
 
 The intent of the composer is seen in the style of 
 the original theme which appeals to us first in the har- 
 monic sense, i.e, as a succession of harmonies rather 
 than as a melody — as a foundation for a structure, 
 rather than as a structure in itself. Hence the way is 
 clear for the creation of different melodies and the 
 diverse presentation of the same harmonies. 
 
 Sir Hubert Parry ("Variations" in Grove) points out 
 the resemblance of the work to the old chaconne varia- 
 tions of Corel.li, Bach and Handel. He speaks also of 
 the work being a "model of coherence" and the group- 
 ing of the variations as for instance from the twelfth 
 to the sixteenth. One feature is the etude-like alternate 
 execution of practically the same variation by either 
 hand as in Nos. i and 2, 10 and 11, 20 and 21. The 
 numbers increase in interest from No. 10, but apart 
 
Beethoven (i8oo-i^). . 247 
 
 from the brilliant No. 18, the canon in octaves No. 22, 
 and the finale containing certain passages prophetic (?) 
 of Schubert we need not go further into detail. The 
 student must study the work itself. 
 
 ■fe <S 4 
 
 The Fourth Concerto in G, Op. 58, like the Fifth in E 
 
 flat, was written at the composer's ripest period. Com- 
 
 Fourth pleted in 1806 it was published in 1808 and 
 
 Concerto like the E flat Concerto was dedicated to his 
 
 ^^ "• pupil and friend, Archduke Rudolph. It is 
 notable for the very florid flrst movement, its striking 
 subjects and wealth of episode. In this as in the Fifth 
 Concerto Beethoven, following an isolated example of 
 Mozart (Concerto in E flat), gives the soloist some in- 
 troductory work, after which the condensed orchestral 
 exposition leads as usual. The first theme given out 
 fragmentarily on th3 piano is simple, sincere and medi- 
 tative, and is unexpectedly continued by the orchestra 
 in the somewhat remote key of B major. Imitative 
 treatment leads the way for the light-hearted second 
 subject commencing in A minor. The pianoforte after 
 again soliloquising introductorily with an interjection 
 from the orchestra, at last begins to weave in the prin- 
 cipal theme. 
 
 The development is brilliant, almost discursive and 
 cadenza-like in style while the orchestra tosses frag- 
 ments of the theme from one instrument to another, 
 
248 Conversations on the Pianoforte Classics. 
 
 The recapitulation enters, as Czerny notes "with 
 greatest possible energy.'' 
 
 Fourth Concerto in G 
 Allegro moderato 
 
 III I 
 
 1_>I I B- 
 
 
 Beethoven with the premonition that the extemporised 
 cadenza may be out of keeping with the rest of the 
 movement has here provided a choice of two fully 
 written out, either of which may follow on after the 
 usual 6-4 chord. To the first of these he attaches the 
 punning joke: "Cadenza (7na senza Caderc)." 
 
 The meditative note struck at the outset is continued 
 with added pathos in the andante movement — in- 
 troduced and alternated with emphatic and impatient 
 phrases by the full stringed orchestra. The andante 
 can hardly be considered as a definite movement, it 
 may be looked at more as an introduction to the rondo 
 following. This light and piquant finale movement 
 begins //"with a march-like theme and is almost in 
 the style of a military rondo. The impression is 
 heightened by the fact that the trumpets and drums 
 hitherto silent now make their appearance in this 
 number. 
 
Beethoven (1800-14). 249 
 
 In addition to two short provided cadenzas Beet- 
 hoven provides another, and alternately leaves 
 room for another to be extemporised (" The cadenza to 
 be short," as he puts it) previous to the merry presto 
 which winds up the work. 
 
 ife 4 4 
 
 The popular title of the "Emperor" Concerto, Op. 
 
 73, in E flat (written 1809, published 181 1), seems quite 
 
 in keeping with and appropriate to the finest 
 
 "Emperor" ^f Beethoven's concertos, and to the majestic 
 
 Concerto, ^^i^^^.^^^^^ pervading the hrst movement, 
 
 notwithstanding its remarkably florid character. 
 
 A brilliant ff cadenza opens the work, after which 
 the orchestra proceeds with the exposition or enuncia- 
 tion of the leading themes. The pianoforte following 
 on begins, after a brilliant two-octave chromatic 
 to re-state the case in massed chords for both 
 hands. 
 
 No. 24. AUesro 
 Sir ngi l u. ti 
 
 Eniperur Concerto, 
 
 
 ^ -— T-^.-T- 
 
 ^^Mi^^^S^^. 
 
250 Conversations on the Pianoforte Classics. 
 
 Horns $i 
 
 
 ■/ 
 
 ■-n—-i ■+-■-] I — I — f--^ ^ — I — 1^1^^ ^ I ^ ~ ^~ . — I t 
 
 p §- -■•- sy Clarinets 
 
 
 
 Bra.s 
 
 ^-2.""'^ 
 
 
 TIT- 
 
 I 
 
 The principal feature is the very brilliant, elaborate 
 and ornamental character of the development of 
 themes, giving an insight into the treatment of sections 
 and motives and their clever and ingenious manipula- 
 tion and combination in various guises in different 
 keys, till the whole movement is uniform and homo- 
 geneous in character. We note that the halting and 
 tentative second theme, which appears in the tonic 
 minor in the orchestral exposition and in the usually 
 similar recapitulation, is in the out-of-the-way key of 
 B minor (C flat minor), in the pianoforte exposition — ' 
 necessitating an approach through E flat minor and 
 G flat major; an example of Beethoven's daring (but 
 always effective) deviations from the usual. Besides 
 a cadenza provided before the recapitulation Beet- 
 
Beethoven (i8oo-i^). 251 
 
 hoven also at the usual point, to make sure of the non- 
 intrusion of unsuitable improvisation, writes : " Do not 
 make any cadenza but attack at once the following," 
 after which comes the short written cadenza, with an 
 accompaniment (also unusual) towards the end. 
 
 A hymn-like theme played in muted strings intro- 
 duces the adagio, which the pianoforte, after a charm- 
 ingly graceful introduction continued through an 
 ascended sequence of shakes, again takes up in varied 
 form, and leads direct on to the rondo. In this final 
 movement with its. simple tripping theme we note 
 especially its interesting transposition into various 
 keys. Here again, while hesitating on a 6-4 chord, 
 Beethoven dashes into a short final cadenza, and thus 
 disposes of the alternative — a practice followed by 
 later composers. 
 
 <a « '4 
 
 The Six Variations in D, written on the theme after- 
 wards used for the march in the "Ruins of Athens," 
 are in popular style with the rhythmical 
 aria ions, ^^^ melodic aspect kept prominent through- 
 out, and are not specially remarkable in 
 any way. 
 
 Regarding the Sonata in F sharp, Op. 78 (i8og), 
 Beethoven seems to have had at that time a special fond- 
 
252 Conversations on the Pianoforte Classics. 
 
 Sonata in F '^-^-s for the same. It is probable that he in- 
 sharp, tended the work as an experiment in technique 
 *^P' '° on the black keys. T^s such it certainly forms 
 a progressive step in true pianistic style. Beethoven 
 doubtless knew the orchestral and symphonic trend 
 of his style, and after the elaborately and 
 minutely worked out "Waldstein" and " Appas- 
 sionata" Sonatas the Op. 78 comes as a relief. 
 The sentiment is not deep nor is the development more 
 than sufficient to keep it together, but there is the new 
 technical aspect, the black keys and the neat virtuoso 
 work for alternate hands in the rondo. It is probable 
 that this is what Beethoven referred to when he said : 
 "PcDple are always talking of the C sharp minor 
 Sonata but I have written better things than that. The 
 F sharp Sonata is something very different.'' 
 
 One may compare, for instance, the Clementi tech- 
 nique of the finale (in F sharp) of the "Moonlight" 
 with that of the more modern F sharp Sonata 
 finale. 
 
 F sharp major Sonata, O^. 78. 
 No. 2i. finale. Allegro Vivace 
 
 etc. 
 
 
 »/ / 
 
Beethoven (1800-14). 253 
 
 Wi^MMm'M\~M^-^\. 
 
 ■^j- 
 
 11 k <B):S 
 
 z;z^l=z3-«— ? =1 ' - ti 
 
 
 
 elc. 
 
 w-^_=$-^^- 
 
 jri • 
 
 F5z-g: d'^-^ — 
 
 ■ ^ d — !-v»-» 
 
 ■^•" 
 
 jt«: 
 
 We must remember also that Weber, who greatly 
 enlarged pianoforte technique, had already written his 
 first concerto in 1806, and hence Beethoven's thoughts 
 were directed as to the possibilities in this direction. 
 
 The work is not played much in public, and Reinecke 
 terms it "quite a confidential piece." 
 
 What strikes one about it, is the purely harmonic 
 aspect which the little ornamental arabesque work 
 scarce conceals. In style it may be said to be a direct 
 predecessor of Schubert and Chopin's characteristic 
 pianoforte works, and herein lies its significance. 
 
 4 <& <fe 
 
 We must look at the " Phantasie,'' Op. 77, as a true 
 fantasia, both in name and spirit. The first half re- 
 
254 Conversations on the Pianoforte Classics. 
 
 Fantasia in minds one of the saying "To one thing 
 
 G minor, constant never." Fragments of various 
 
 ^P' ' '• themes appear for a moment only to be 
 
 interrupted by whimsical scale and other passages and 
 
 then thrown on one side. 
 
 Fantasia in G minor. 
 No 26. Theme. Allegretto 
 
 ;iis 
 
 
 3=q=4- 
 
 "1 
 
 dohe 
 
 s » 
 
 I % 
 
 ^ ^E^l ^^prr^E-^:E=^"q=p E:;:E:pli'"E^ 
 
 Ilorns 
 
 W' — 
 
 -p- 
 
 
 • - -• E »- -B B- 
 
 m 
 
 Not until the short adagio section appears is there 
 anything that is made use of afterwards. A quasi- 
 Mendelssohnian fairy passage intervenes, and then a 
 
Beethoven (1800-14.). 255 
 
 tender and graceful theme in B major is given out and* 
 treated in variation form. 
 
 The seven variations on this theme are melodic and 
 ornamental in style. Nos. i, 2 and 5 are in delightful, 
 airy and delicate mood. The whimsical scale flashes, 
 however, begin to interrupt, and this time become the 
 means of a characteristic and masterly transition to 
 the remote key of C. The variations resumed, still 
 other scale flights intervene, and finally, after a tender 
 and regretful leave-taking of the original theme 
 (adagio) "one single scale like a sudden flash of 
 lightning in a pure sky finishes the whole." (Pauer.) 
 Save for the variations, the spirit of rhapsody is 
 in the ascendant throughout. The work, indeed, is a 
 true fantasy. 
 
 <fe <fe !^ 
 
 The Sonatina, Op. 79, though completed in 1808, 
 
 probably dates from an earlier period, and, like the 
 
 ijijjg Sonata, Op. 49, is evidently intended for 
 
 Educational educational purposes. Like the other and 
 
 Sonatina, more ambitious sonatas, it also embodies an 
 
 P" ' ■ experiment. This time a German waltz or 
 
 Ldndler forms the foundation of the first movement. 
 
 The languishing andante reminds one of a Venetian 
 
 barcarolle, while the light-hearted vivace is not unlike 
 
 the brisk two-step ecossaise, popular about that time in 
 
 Vienna. The work on the whole is cheerful and 
 
 Haydnish in style and is educationally useful. 
 
256 Conversations on the Pianoforte Classics. 
 
 We have pointed out that Beethoven was always 
 looking out for new effects, and in the Choral Fan- 
 Choral tasia, Op. 80, for pianoforte solo, orches- 
 Fantasia, tra and chorus, we have an example of his 
 Op. 80. persistent efforts to create innovations and 
 to "go one better" rs it were. He was not content with 
 pitting the pianoforte against the forces of the full 
 orchestra as in the concertos, but must add another 
 element to the total grandeur of the effect, the human 
 voice. 
 
 What Beethoven accomplished in this work suggested 
 to him the similar use of the chorus in the " Choral " or 
 Ninth Symphony with its strikingly similar theme. 
 Beethoven himself performed the work at Vienna in 
 1 8c 8 and it was published in 181 1. The principal 
 theme is as follows : 
 
 Allegretto 
 
 The very free improvisatory and short adagio begins 
 in an impressive manner. A fine enharmonic modula- 
 tion leads in some brilliant virtuoso work, and a presto 
 cadenza brings us to the introductory meditative dia- 
 logue of the hnale (so-called — really the main portion 
 of the work) between the ff orchestra and the short 
 phrases of the soloist. 
 
 The main theme as given in the allegretto now enters, 
 and the simple melodic "variations" appear. These 
 
Beethoven (1800-14). 
 
 257 
 
 are mostly for the orchestra — in Nos. 2, 3 and 4 
 entirely so. No. i is a charmingly simple number for 
 flute with piano accompaniment. 
 
 The difficulty in sustaining the interest in the varia- 
 tion form is greatly lightened by variety of tone colour 
 in the orchestra, and by changes of key. In variation 
 No. 6 the wild and furious allegro molto is in the 
 tonic minor, and an episode soon leads to the pretty 
 No. 7 in the remote kev of A, here a florid adagio, as 
 usual with the penultimate number. Variation 8- is an 
 inspiring march in the key of F. Another episode 
 leads back to C minor and the allegretto in C major 
 where Beethoven directs the chorus should be given 
 the usual sign. 
 
 No. 27. Marcia. 
 
 Eighth Variation. Vivace. 
 
 \ 
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 I 
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 fe^E£Bl=F^Jri?P±bJ 
 
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 Tutu 
 
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 ^|^g^:^=p.: 
 
 $^it=Ja?c«ii(^:;iiiti;i-|ir^--i=: 
 
 — V- F—H-J— ^ 1| ' 
 
 Seethoven —6 
 
258 Conversations on the Pianoforte Classics. 
 
 The chorus now enter with the main theme to the 
 following words in praise of music. 
 
 Schmeichelnd und lieblich klingen^ 
 
 Unsres Lebens Harmonien 
 
 Unddem Shcnoheits sinn entschwingeu 
 
 Blumen sich, die ewig bluhn. 
 
 Fried und Freude gleiten freundlich 
 
 Wie die vellen wechselspiel 
 
 Was sich drangte rauh und freundlich 
 
 Ordnet sich zu Hochgefiihl. 
 
 In the first verse women's voices, in the second men's 
 voices, and in the third the full chorus sing the theme 
 while the piano in the first two, and in the third, the 
 orchestra weave the variations. A coda follows, and 
 in the final presto, chorus, orchestra and soloist com- 
 bine to bring about a brilliant climax. 
 
 This genial and not difficult work deserves a more 
 frequent performance. 
 
 <S <S <5 
 
 " Sonata Caracteristique," Op. 8 1 a, " Les Adieux," 1 8 1 o. 
 This is one of the most expressive of Beethoven's works. 
 " Les ■^*- ^^ outset we have the characteristic two- 
 Adieux" voiced theme expressing the tender and 
 Sonata, sincere farewell (Lebewohl) in the intro- 
 ductory adagio — a miniature tone-picture of anxious 
 presentiments and regret at parting. 
 
No. 28. 
 
 ?=rk 
 
 Beethoven (1800-14). 
 
 Op. 81 A. Adagio. 
 
 259 
 
 (■\) 
 
 m. 
 
 Leb:wo\l 
 
 
 espressivo 
 
 
 In the lively allegro more comforting thoughts pre- 
 vail, though these as the movement wends its way, are 
 intermingled with meditative and expressive regrets as 
 interpreted through the poignant sf discords in the 
 episode and the expressive second subject in B flat. 
 With the latter, by the by, is combined the Lebewohl 
 theme in notes of augmented value. 
 
 ■6 <fe « 
 
 Strange to say, this is the only sonata of Beethoven 
 
 which was given by him a definite programme. Not- 
 
 j^ withstanding his declared intentions of 
 
 Programme providing titles for various sonatas, it was 
 
 Work. jjjfj- ^Q ^j^g publishers to essay this matter. 
 Sebastian Bach, some seventy or eighty years previ- 
 ously, had written a descriptive capriccio "on the 
 departure of a brother," and in a similar manner the 
 present sonata was inspired by the departure of Beet- 
 hoven's friend and pupil, the Archduke Rudolph, of 
 
26o Conversations on the Pianoforte Classics. 
 
 Austria, to whom also he dedicated the Concerto in G 
 and other works. 
 
 The autograph score bears the inscription, "the fare- 
 well," May 4, 1809, and Beethoven's note elsewhere: 
 "Gewidmet aus dem Herzen geschreiben '' (dedicated 
 and written in all sincerity) shows that it was no mere 
 matter of form. 
 
 The last movement celebrates " the arrival of His 
 Imperial Highness on January 30, 18 10." 
 
 To resume : the short development section of the 
 first movement is based mostly on a fragment of the 
 opening allegro. An important feature of the move- 
 ment is the coda, which, except for a reminiscence of 
 the allegro (in the minor), is occupied with a farewell 
 motive. 
 
 Towards the close it will be noticed that the alter- 
 nate "farewells" overlap and the resulting discord has 
 been eagerly debated by some of the critics. 
 
 ChOTd ^^^ intention, however, is quite clear, and 
 it is intention or design which alone is 
 decisive in harmony matters. The b Hat should be 
 accented, the q"*' below merely dying away. 
 
 For the rendering of the movement a singing tone 
 and the greatest expression are necessary. 
 
 Earnest meditativeness characterises the andante 
 (absence), together with an expressive longing for the 
 return of the absent one. The movement which is in 
 sonata form is quite short and serves as an introduction 
 to the finale to which it leads on direct, 
 
Beethoven (1S00-14.). 261 
 
 In the last movement (the return) there is no mistak- 
 ing the exuberant joy and delight with which the 
 ■' vivacissamente " leads off in anticipation of the return, 
 and ■ after the quieter triplet figures expressing as it 
 were, cheerful welcome, all is again excitement in the 
 running and tiptoe staccato figures until the cantabile 
 second theme in B flat with the busy shake accompani- 
 ment is heard. This movement is also in sonata form 
 and contains additional new ideas in the development 
 section. The recapitulation portion leads off with the 
 chief triplet theme in octaves. A reminiscence of the 
 same is also heard in the poco andante to which suc- 
 ceeds a short and joyful vivacissimo as a final wind- 
 up to the sonata. 
 
 Elterlein speaks of the presence of "two distinct 
 actual personalities'' and of "actual dialogue'' in the 
 first and third movements. Perhaps these may be 
 identified with the joyful and more contemplative 
 portions which stand out in contrast in each. It will 
 add to the interest to endeavour to interpret these 
 personalities. 
 
 * <S 4 
 
 Polonaise in C, Op. 89, 18 14. The polonaise is a 
 
 ceremonial march-like composition and is 
 
 onaise m usually associated with a certain amount of 
 
 pomp and grandeur. 
 In the present instance Beethoven commences with 
 an ornamental cadenza passage, and the polonaise 
 
262 Conversations on the Pianoforte Classics. 
 
 its;lf is in a graceful, poetical and partly playful 
 mood. The middle section beginning in C minor has 
 some charming modulations ending with a flowery suc- 
 cession of shakes and chromatic passages which lead 
 again to the playful flrst subject. A pleasing contra- 
 puntal episode and final entry of theme with coda 
 complete the work. 
 
 4 4 4 
 
 E minor Sonata in E minor, Op. 90, 18 14. A 
 
 Sonata, descriptive title for this sonata might be 
 
 Op. 90. the "Romantic" sonata. 
 
 The influence of Weber who, with Field, was 
 
 developing the romantic element in pianoforte music, 
 
 was already at work, and Beethoven, as we 
 
 A Romantic , , , . • . i_ ^u 
 
 Work know, was always making experiments both 
 
 in form and style. The interpretation of 
 
 the work, full as it is of romantic feeling, depends to 
 
 some extent upon the grasping of the meaning of the 
 
 story connected with its dedication to Count Lichnow- 
 
 ski. Beethoven in response to an inquiry, interpreted 
 
 the sonata as depicting the romantic love story of the 
 
 count himself, who, for family reasons, was unable to 
 
 wed the bride of his choice. 
 
 The composer gave as the key to the hrst movement 
 the '■ conflict 'twixt head and heart," and for the rondo, 
 "conversation with the loved one." 
 
 The interpretation was treated by Beethoven's friends 
 as a joke, but there is no reason to doubt the sincerity 
 
Beethoven (i8oo-i^). 
 
 263 
 
 of the composer's sympathies. The titles remind one 
 of Weber's avowed romantic programme for his Con- 
 certstiick. 
 
 In the fi.rst movement which is full of sharp contrasts 
 the first four measures give the clue to its meaning. 
 First, a stern determined motive of two bars, answered 
 by its opposite, a pathetic, expressive and yielding 
 motive lead the way, and ever and anon do we seem 
 to hear resolution and de&ance, only to be followed by 
 a pleading despairing section, until the "conflict" 
 closes in quiet resignation. As one instance of this we 
 have the passionate cres molto leading to the despair- 
 ing second theme, which is again succeeded by the 
 stern octave and sf motive, and so on. 
 
 Regarding the execution of the left hand part accom- 
 paniment to the second theme, Reinecke proposes the 
 following facilitation for small hands : 
 
 No. 29. (A) 
 
 ( 
 
 Op 90. Vivace. 
 
 3'«— 3=:jr 
 
 
 -^ — I—- 
 
 _^ — _l> 
 
 -^ ■•-■ 
 
 -A--=A-^- 
 
 -•-*|-F=^ 
 
 
 (B) 
 
 •^m-^pm^ 
 
264 Conversations on the Pianoforte Classics. 
 
 The engaging second movement or iinale, descriptive, 
 as Beethoven said, of "conversation with the loved 
 one " requires to be played " very cantabile and not too 
 quickly." It is in rondo-sonata form, and the tender 
 iirst theme appears four times. It has the usual second 
 subject (in B) which appears later in the tonic (in E) 
 and development section after the second entry of the 
 chief theme. 
 
 The sonata completes the usually accepted second 
 or mature period as far as the sonatas are concerned. 
 
 It is notable that the warmth and simplicity of tone 
 combined with the very cantabile style strangely sug- 
 gests the later manner of Mendelssohn, and the ques- 
 tion arises, was this more romantic style the influence 
 of Weber who was the principal model for Mendels- 
 sohn? Possibly this was so, but to it may be added 
 that something also of the " sentimental " present in 
 Beethoven's later works of the third period of which 
 Mendelssohn was an admiring executant. 
 
III. 
 
 Beethoven. Third Period (1816-23). 
 
 SONATA in A, Op. loi. This sonata is the first of 
 those constituting the so-called third period in 
 which Beethovetn becomes more introspective and 
 brooding in style. They belong to that class of com- 
 
 Beet1ioveii'sP°^^^^°'^^ '" which the interpreter and the 
 
 Third listener has, as it were, to see "through a 
 
 Period, glass darkly." The five sonatas belonging 
 
 to this period are undoubtedly of a different order to 
 
 the preceding. 
 
 Intense personality, great breadth of purpose and 
 minute "working-out" are there, combined also with 
 great and even mystic power of expression. 
 
 The "distinguishing" feature, however, is the, to 
 some extent at least, loss of inspirative power. 
 
 Beethoven at this time was much worried by bad 
 health, as well as financial and lawsuit difficulties, so 
 that notwithstanding the intense earnestness of purpose 
 pianifested, it is not wonderful if we find that some- 
 
 265 
 
266 Conversations on the Pianoforte Classics. 
 
 thing of freshness and inspiration has gone out of the 
 master mind and that his great reflective and archi- 
 tectural genius is trying, as it were, to make up for the 
 deficiency. 
 
 ■S 4 * 
 
 tpijg One prominent feature of these five 
 
 Polyphonic sonatas is the polyphonic or fugal element 
 Element, present in them. 
 
 Beethoven was specially fond of Bach's " forty- 
 eight " and his mastery of the sonata world must have 
 led him, like Alexander the Great, to look for new 
 worlds to conquer. In any case we find polyphonic, 
 fugal or canonic work present in each of these last 
 five sonatas. There is least of this element in the Op. 
 109 Sonata in E flat. 
 
 It is not given to mortals to command success in all 
 branches of knowledge, and Beethoven, doubtless, was 
 not so successful in his fugal work as in the sonata 
 form — pure and simple. 
 
 Beethoven, however, was essentially a "progressive" 
 if not a revolutionist at heart, and we must look upon 
 this combination of the sonata and the fugue as one of 
 his numerous experiments. 
 
 <fe 4 c^ 
 
 Sonata in A, Op. loi. To this work, with its alter- 
 nate tender and martial atmosphere the title " Love and 
 War" might be attached. Baroness Ertmann, to whom 
 the sonata is dedicated, was the wife of an Austrian 
 
Beethoven (1816-2^). 
 
 267 
 
 officer and a distinguished virtuoso who had studied 
 with Beethoven. Reichardt speaks of the refined deli- 
 cacy of her playing and of the '' singing soul in each 
 finger-tip." "She played," he says, "a great work of 
 Beethoven with such completeness that I do not remem- 
 bsr to have heard anything greater or more perfect." 
 
 The short first movement is to be played with "in- 
 
 nigster emfindung" (innermost feeling). This intro- 
 
 Forecast spective mood naturally favours to some 
 
 of extent a polyphonic style, and it is curious 
 
 Schumann, ^q ^^^^ (-j^g^^ ^jj-jj j^g linked syncopations 
 
 and dreamy wayward manner it foreshadows in a way 
 the style of Schumann, who was at this time only six 
 or seven years of age. 
 
 No. 31- AUegietto 
 
 Sonata in A, Op lOI. 
 
 
 L_CJ 
 
 mS^^^E§i ^^=m 
 
 tr^'^^. 
 
268 Conversations on the Pianoforte Classics. 
 
 A sweet and tender melody divided into clear 
 responsive phrases opens the work. A somewhat in- 
 definite second theme now leads to a short development 
 in which syncopation is prominent, and the concise first 
 movement is soon brought to a close with the slightly 
 altered and abbreviated "recapitulation."' 
 
 The vivace alia marcia is an original movement, full 
 of martial rhythm and aspiring melody. 
 
 No. 31. Vivace alia Marcia 
 
 f^-C^-lj^* 
 
 
 
 Pci. -M 
 
 The polyphonic element is present here also in the 
 persistent imitative phrases of the development section. 
 Some characteristic modulation leads to a return of 
 the theme and to the delicate and pleasing Trio in B 
 flat, the latter an introspective section in canon form 
 which leads direct to a coda and the da capo. 
 
Beethoven (i8i6-2j). 269 
 
 Firmness, yet delicacy of treatment, is necessary for 
 the due interpretation of the movement, while special 
 note should be made of Beethoven's own pedal indica- 
 tions in bars eighteen and nineteen of the second part. 
 
 The dreamy and desireful (sehnsuchtsvoll) Adagio 
 in A minor is little more than an introduction to the 
 finale. A subdued feeling of longing and melancholy 
 takes possession of the listener. Later, an echoing 
 melody rising in sequential form leads through a short 
 cadenza to a refrain from the first movement and 
 thence direct to the succeeding allegro. 
 
 Before the bold clanging chords of the martial final 
 allegro, all the misty atmosphere of the adagio with its 
 doubts and melancholy is soon dissipated. The dia- 
 logue or imitative element is still to the front and the 
 pleasant conversational second theme in G is soon 
 heard. 
 
 The structural features of the movement, as through- 
 out the sonata, are marked rhythm alternating and 
 combined with the polyphonic element. Beethoven, 
 who was ever on the outlook for new ideas, substitutes 
 for the development section a free fugue based on the 
 chief theme itself. This fugal section is full of inno- 
 cent fun and humour. The mysterious sotto voce 
 theme leads to a thoroughly homogeneous composition, 
 the playful episodes being based on the theme. A 
 final stretto on the dominant of A minor leads to the 
 recapitulation section. In the latter fugal devices inver- 
 sion of themes, etc., also crop up and there is a good deal 
 
^ 270 Conversations on the Pianoforte Classics. 
 
 of playful imitation in the last coda, which finishes 
 appropriately with a tonic pedal in the form of a shake 
 or drum effect in the bass, and a sudden ascent of 
 crashing chords. 
 
 Thus finishes Beethoven's somewhat extended, drawn- 
 out, didactic and reflective picture of love and war. 
 
 4 4 <S 
 
 Sonata in B flat, Op. 106. This gigantic work, 
 
 specially composed for Beethoven's pupil, the Archduke 
 
 The B flat Rudolph, who is said to have been able to 
 
 Sonata, play it, has been called the Ninth Sym- 
 
 Op. 106. phony of pianoforte music. 
 
 Titanic, symphonic and colossal are the adjectives 
 which have been used to describe the work. 
 
 The theme of the first movement possesses a dual 
 nature and gives us both imperious power and sym- 
 pathetic gentleness in its respective divisions. The 
 massive alternating chords in the extension of this 
 portion lead to passages of impressive grandeur. 
 
 No. 32. Allegro 
 
 Sonata in B flat, Op. I06 
 
 f % 
 
 \ I 
 
 C-n_^ p . 
 
 EEi 
 
 »- — • — — * — • — +— •- 
 
 Fed. -r 
 
 H= 
 
Beethoven (1816-2^). 271 
 
 At the change to G major polyphonic passages take 
 up the running and at the close of this the second 
 theme in G unexpectedly enters in the bass. 
 
 A triplet and rolling octave coda prepare us for the 
 second section, which is soon taken up with an energetic 
 fugato, the theme of which is at the end reinforced in 
 double notes. The rest proceeds as usual, but the re- 
 capitulation has many additional modulatioris, exten- 
 sions and variations. The transposed extension of the 
 subject into G flat is vqry effective. 
 
 To sum up : the impression we gain of the movement 
 is that of great power mingled with tenderness. 
 
 Great care is needed for the proper contrast of tone 
 and as regards clearness of part playing in the poly- 
 phonic sections. 
 
 The scherzo, though graceful, is of no great attraction 
 in itself, but it serves by its light and fleeting character 
 as a foil to the big first movement and the following 
 adagio. The irregular phrase length and the canon in 
 the B flat minor and D flat major section may be noted. 
 Adagio sostenuto. This very sustained movement 
 is laid out on a truly symphonic scale. It has been 
 
 Forecast described as "an unmeasured wail over the 
 
 of Men- ruin of all happiness." Certainly it is a 
 delssohn. g^d^ plaintive and meditative movement. 
 The molto sentimento style reminds us strangely of 
 Mendelssohn, as, for instance, in his F sharp minor 
 Fantasia, Op. 28. The two opening notes are said by 
 Ries to have been an afterthought. They are plainly 
 
2/2 Conversations on the Pianoforte Classics. 
 
 introductory in intent. Various phrasings have been 
 mooted but the author would suggest the following, 
 making use of overlapping phrases, as a likely solution. 
 
 
 The adagio opens una corda and yet appassionata, 
 strange combination suggesting suppressed emotion, 
 and perhaps regrets for the past. This leads on to the 
 con gran esfressione, an episode full of lofty thought. 
 Some dialogue or imitation at the end of this leads to 
 the deeply meditative second subject. 
 
 A ray of hope now begins to appear together with 
 increased general animation. A fragment here inserted 
 from the first theme serves as an introduction to the 
 development section which curiously hovers between 
 una corda and tutte le corde. 
 
 A melodic passage disposed in thirds rises five times 
 in sequence and we next meet a variation of the main 
 theme and a charming presentation of the episode, now 
 in D major, after which the recapitulation proceeds 
 quite regularly. 
 
 Biilow has said : " In almost no one of the pieces of 
 Beethoven is so devout and reverential submission 
 required to fit its painful sublimity as in this sonata." 
 
Beethoven (1816-23). 2^3 
 
 The dramatic largo built upon passages of recitative 
 and imitation fitly prepares the way for the following 
 gigantic fugue written in "three parts with licences."' 
 Here the intellectual element reigns supreme and an 
 analysis of form is necessary, both for player and 
 listener, for an appreciation of the movement. 
 
 The development- of the subject with intervening 
 episodes occupies some six broad divisions: (i) in B 
 flat ; (2), in E flat minor ; (3), various keys ,(" develop- 
 ment" or "middle group"); (4), in D; (5), in tonic; 
 (6), coda. 
 
 Op. 106. Finale. Subject ot Kugue. 
 
 Several ingenious devices are employed, for instance, 
 the E flat minor section enters in notes of augmented 
 value. 
 
 In the D major section the theme appears in retrogres- 
 sion, i.e., with the theme written backwards (last note 
 first, etc.), while later the subject is used with its own 
 "inversion" both in stretto (i.e., drawing subject and 
 answer close together) and together at the same time. 
 
 Of course, the questions arise : Why all this in- 
 genuity? Is Ihe effect quite musical or artistic and 
 
 Beethoven — 7 
 
2/4 Conversations on the "Pianoforte Classics. 
 
 Ineffective 
 Ingenuity. 
 
 does it arouse the emotions and impress 
 one with a sense of beauty and charm? If 
 
 not, then the ingenuity is not justi&ed. As 
 the result of these inquiries one is inclined to think 
 that Beethoven did not excel in fugue — that his 
 mastery of the sonata was not paralleled in the maze 
 of that master-polyphonic form, which already had 
 reached its perfection under Sebastian Bach. 
 
 <& 4 4 
 
 Sonata in E, Op. 109, 1820. The graceful and light 
 
 vivace of this sonata comes as a grateful change after 
 
 E major the awesome might of the Op. 106, to which 
 
 Sonata, it forms a complete contrast both in length 
 
 Op. 109. and style of movement. 
 
 No 35. Vivace 
 
 Sonata in E, Op. 109. 
 
 iipippipppi^l 
 
 p Holct _„__-—- 
 
 'h:^ 
 
 ^. 
 
 S^3.f^^i3Efe^^3E^iISEJ 
 
 1?=^ 
 
 I 
 
 ;!|= 
 
 S 
 
 
 1 -f 
 
 U LI %J 
 
 E3E3: 
 
 3^ 
 
Beethoven (1816-2^). 275 
 
 Dedicated to the youthful daughter of a family with 
 whom he had been exceedingly friendly, one can 
 imagine that the composer emerges somewhat from the 
 gloom of his later years and is once more inspired by 
 the freshness of youth. 
 
 The ' alternating and expressive adagio (as in the 
 " Sonata Pathetique "), with its cadenza passages, forms 
 a pleasant contrast. It acts as the episode of what is 
 really a concise or simple rondo and in which the theme 
 appears in altered form in its second and third 
 appearances. 
 
 Lightness, grace and a fairylike velocity are the 
 main characteristics of the prestissimo, though it enters 
 impetuously with a //. The movement is written in 
 sonata form. One notes the interesting section in canon 
 and the una corda portion previous to the recapitulation. 
 
 The Andante with variations is one of Beethoven's 
 
 most interesting movements, apart from its place in the 
 
 sonata it is a notable example of the varia- 
 
 ^ ?'' . ' tion form. The opening theme displays 
 
 romantic style and almost a religious tone. 
 
 It is to be played with the greatest possible expression. 
 
 Andante, Op. 109. 
 No. 36. Mo!to cantabile ed espressivo 
 
 J&^3Tq^N|£^=[Ei==l^^ta-fti^i 
 
 voce I I ' -•■ -5- r__ i ■ __i ; 
 
2^6 Conversations on the Pianoforte Classics. 
 
 In the first variation a beautiful quasi-violin melody 
 rises on the harmonies of the original, while the second 
 variation is a double one. In the first half of the latter 
 appears a fanciful broken chord figure, in the second 
 half a cantabile melodic version in sequential imitation. 
 
 In the third variation the bass of the original theme 
 is given as the melody, and then both treble and 
 bass are alternately inverted. In the second half of 
 the same the original theme appears and is also treated 
 by inversion. Variation No. 4 brings a change of 
 time, and a version of the melody appears, amidst 
 imitative passages over the original harmonies. 
 
 In Variation No. 5 fragments taken from the begin- 
 ning of the first and second halves of the melody are 
 treated in canonic or imitative style, with inde- 
 pendent light staccato accompaniments, which should 
 be kept subordinate. 
 
 Variation No. 6 opens with a shake accompaniment, 
 ever growing more florid, to the diverse rhythmical 
 versions of the melody. 
 
 Later on broken chords on a trilling dominant pedal 
 — subsequently inverted — create new interest, while, as 
 a fitting close or coda, we hear the original rich theme 
 with its attractive soothing harmonies quite unaltered. 
 
 « « <4 
 
 The Aflat Sonata in A flat, Op. no, 1821. This 
 Sonata, sonata is composed somewhat after the plan 
 Op. 110. Qf |-jjg earlier ones. 
 
, Beethoven (1816-23). 277 
 
 The very cantabile first movement yields an attrac- 
 tive opening theme— a song, as it were, of yearning 
 and hope. 
 
 Sonata in A flat. Op. no. 
 No. 37. Moderato, cantabile molto espressivo 
 
 
 p con amabilita 
 
 T— 1 1-H-n-T — I T 
 
 A light, fanciful and brilliant cadenza episode and 
 an expressive second subject are followed by a short 
 development commencing in F minor, characterised 
 mostly by a running bass This, with a recapitulation 
 having another varied bass, completes a concise and 
 interesting m.ovement. 
 
 Alternately fanciful and boisterous the allegro molto 
 has much of the character of a scherzo in which 
 humour and good nature alternate, while the second 
 half is even more gay with its light-winged spirit and 
 tiptoe excitement. The repetition of the first portion 
 brings the movement into ternary form. 
 
 Op. no. AUesr- molto. 
 I 
 
 No. 38. 
 
 f zz^^^^zL ^^ii-^j.J ^_-^=tp^=i 
 
 1 
 
 t^-^t—t 
 
 mmm^0mw^ 
 
2/8 Conversations on the Pianoforte Classics. 
 
 Adagio. This plaintive and meditative movement 
 serves principally as an introduction to the fugue. 
 
 As a help to the comprehension of this sonata 
 perhaps the title, "Recollections of Youth," might be 
 suggested. If the tender first movement may be 
 thought of as "fond memories" and the playful 
 allegro molto as "'youthful pleasures," the adagio 
 seems to suggest "sighs for the pas':." Distance 
 lends romance and the recitative passages tell a tale 
 of their own, while the sentimental but sad arioso (re- 
 minding one again of Mendelssohn) mayhap arose 
 from reveries on a youthful unrequited first love. 
 Continuing the analogy further, the fugue on a broad 
 chorale-like theme happily points, on the whole, to a 
 more contented state of mind. The past is gone — 
 regrets are vain. The web of life's story has still to be 
 woven and hence the closing polyphonic fugue is in 
 appropriate mood. 
 
 Op. no. Finale. Fiigus Subject. 
 
 No. 39. Allegro ma non troppo 
 
 ft' 
 
 j^- .. 2L .,.■ r. --: .,c. 
 
 »-i=h=f±r-"E=|prTTt— '^- 
 
 ^gl^EElE^^I 
 
 EEr 
 
 Xlie Beethoven is still under the fugal spell, 
 
 Fugal but in this work he is not so ambitious as 
 Spell. in the Op. 106, and the result is much 
 
 clearer. 
 
 A broad flowing style, poetical feeling and cantabile 
 
 manner are necessary for its interpretation. 
 
Beethoven (1816-2^). 279 
 
 Much ingenuity is displayed in the construction and 
 an analysis is certainly necessary to a clear perform- 
 ance. The form is more or less that of the fugue 
 except for an episode consisting of the previous 
 adagio, thereby securing greater cyclical unity. 
 
 The feeling of calm and contrast is, however, thus 
 momentarily interrupted — the composer still harks 
 back to the past, though only for a time. 
 
 The first fugal section might be said to divide into 
 groups in A flat, E flat and D flat with a coda. 
 
 The second section which has to be played with in- 
 creasing animation, commences quietly (una corda) in 
 tke key of G, but takes the subject in inverted form. 
 With the change to G minor the ordinary theme, twice 
 augmented, has for its accompaniment the same sub- 
 ject treated in canon but in notes trebly diminished, 
 while at the meno allegro the theme still further 
 diminished is used in imitation. 
 
 The A flat signature brings the theme into the bass 
 in octaves, and becoming more animated the composi- 
 tion comes to an imposing climax on an elaborate 
 broken chord pedal part. 
 
 4 <fe 4 
 
 Sonata in C minor, Op. iii, 1822. Had this sonata 
 
 been composed in one and the same period it is prob- 
 
 C minor able that the word dramatic might have 
 
 Sonata fitly described its contents. As it is there 
 
 Op. 111. ig a want of unity in the composition. The 
 
28o Conversations on the Pianoforte Classics. 
 
 first movement, an early one, is undoubtedly dramatic, 
 the second, a late one, partakes of the nature of an 
 idyllic hymn — ^with variations, so that Schindler's 
 query : why he did not write a third movement, was as 
 natural as the master's reply : because he had not time, 
 was unsatisfactory. 
 
 In one thing alone both movements harmonise, 
 however, and that is in their peaceful close. 
 
 It is at least fitting that the composer's last sonata 
 should end in calm resignation. His work was done — 
 and his resting place was found. Here the closing 
 stanza from Browning's "Abt Vogler'' is most appro- 
 priate : 
 
 Well it is earth with me : silence resumes her reign 
 I will be patient and proud, and soberly acquiesce. 
 Give me the keys. I feel for the common chord again 
 Sliding by semitones, till I sink to the minor — yes, 
 And I blunt into a ninth, and 1' stand on alien ground. 
 Surveying awhile the heights I rolled from into the deep ; 
 Which hark, I have dared and done, for my resting place is 
 
 "found. 
 The C major of this life : so, now I will try to sleep. 
 
 The main material of the first movement of this 
 sonata was apparently intended for the third move- 
 ment of the Violin Sonata in A, Op. 30, 
 No. I. The fact of its belonging to Beet- 
 Movement, hov^'^'s best period might account for the 
 fact of its inspiriting freshness and vigour, 
 its dramatic life and firg. 
 
 A Dramatic 
 
Beethoven (i8i6-2j). 
 
 281 
 
 No. 40. Maestoso 
 
 Sonata in C minor, Op. ill. 
 
 
 
 _-t-,-J~^-J 
 
 sy 
 
 sr 
 
 
 (t. T 
 
 The imperious and dramatic maestoso reminds us of 
 the "Pathetic" and " Appassionata '' Sonatas, with its 
 ebb and flow of emotion, its mystery and depth of 
 feeling. 
 
 The allegro appassionata starts off with thunderous 
 accents, in a masterful, wilful and determined 
 manner. A ntentuto leads to the fugato episode — and 
 it is here where Beethoven's later work on the original 
 material is probably to be traced. The minor theme, 
 combined with previous running passages, is fugally 
 treated: first, in C minor; second, in E flat (in the 
 bass); and third, in A flat. An impetuous ending 
 
282 Conversations on the Pianoforte Classics. 
 
 leads suddenly to the contrasted short and quiet 
 
 second subject wliich is at once succeeded by a stormy 
 coda. 
 
 No. 41. Allegro Appassionata. 
 
 fi^^^^^^^^^^M 
 
 ff 
 
 :?;2 
 
 ~~'' — T — ■-.,-- 3 . — - 
 
 ) 
 
 @fe^^!!z^^i: 
 
 S =:z 
 
 — 1^^^^- 
 
 -i_-^3ij=±g=ii_z|-_-^ = 
 
 A dramatic entrance of the theme in octaves opens 
 the short development section and is continued in a 
 ccncise fugato built upon a varied form of the theme. 
 The recapitulation announces the chief theme in 
 octaves but abbreviated in form. The stormy trans- 
 posed episode begins in F minor while the transposed 
 second subject is now heard soaring on high in C 
 major. The short adagio phrase is now followed by 
 the theme in octaves in the bass, and thus presents a 
 strong likeness to the second subject of the finale of 
 the "Moonlight" Sonata. A sequence of turns and a 
 Cadenza lead again to the thunderous C minor subject, 
 
Beethoven (1816-2^). 
 
 283 
 
 (now in the bass) which begins the coda. Powerful sf 
 chords are succeeded by a flowing bass passage which 
 gradually soothing the emotions yields a calm and 
 quiet ending. 
 
 If we were to seek for an analogy which would in- 
 terpret the emotions of this fine sonata we might sug- 
 gest for the hrst movement the Baal Scene 
 Parallel ^^^""^ Mendelssohn's "Elijah," beginning 
 with Elijah's invocation, "As God the Lord 
 of Sabbaoth liveth," the calmer second movement might 
 be paralleled in the portion beginning "Lift thine 
 Eyes" and "He watching over Israel slumbers not nor 
 sleeps." 
 
 No. 42. Adagio 
 
 ;=9 
 
 Arietta con Varinzioni. 
 
 
 m?- 
 
 
 
 Coming to the second movement, the adagio with 
 variations, v.e might say that the movement has occa- 
 sioned much discussion. Kullak has passed the 
 opinion that the variations are insipid, while Marx 
 describes them as elegiac in feeling. Elter- 
 lein says they are exalted a,nd ecstatic in character 
 and, that the formal nature of the variations retreats 
 
284 Convetsations on the Pianoforte Classics. 
 
 as it were into the background. Unfortunately, the 
 weakness of all variation forms is the feeling of over- 
 repetition, but certainly in this case the spiritual signi- 
 ficance should come fi.rst within our vision. There is 
 no doubt that Beethoven's inspirative power was fail- 
 ing in his later years and that this movement of his 
 last sonata is not equal to the first and earlier move- 
 ments. 
 
 On the other hand, allowance should be made for 
 the fact that Beethoven was endeavouring to make a 
 continuous movement out of the variations and the 
 difficulty is that of sustaining the interest throughout 
 the fivefold exposition of the one theme. To effect this 
 he gradually increases the figuration, he also works up 
 to a climax by the third variation and provides a con- 
 trast in the restful fourth and fifth. Notwithstanding 
 this, arid a modulation before the fifth "'variation," 
 some monotony ensues, due partly to the continuity of 
 the movement which only emphasises the. weakness of 
 the variation form. 
 
 The first variation, in style melodic, is the most in- 
 teresting one. The second, third and fourth are 
 mostly of the harmonic transformation type. 
 
 ^ 4 
 
 Reviewing the last five sonatas of the master — we 
 have already spoken of the general characteristics — it 
 
Beethoven (1816-2^). 285 
 
 will have been seen that notwithstanding 
 
 s ona a ^j^^ display of immense ingenuity and deep 
 
 Movements , , , , f , , 
 
 of the thought, they do not, as a whole, equal 
 
 Period, those of the mature or middle period. 
 Perhaps no one of them is satisfactory 
 throughout, but there are movements which take the 
 highest place and fully maintain the master's reputa- 
 tion. 
 
 These may be mentioned in the fine first movement 
 of the Op. Ill, the notable variations of the Op. 109, 
 the romantic allegretto of the Op. loi in A, the tender 
 and graceful first movement of the Op. no in A flat, 
 and the symphonic adagio of the gigantic Op. 106. 
 
 4 4 '^ 
 
 Taking the whole of Beethoven's pianoforte sonatas 
 
 in an historic sense, we have seen how in his earlier 
 
 A Review ys^'^s ^e was strongly influenced by his 
 
 of the principal predecessors and contemporaries, 
 Sonatas, but that in his most mature period Beet- 
 hoven's own individuality takes first place. 
 
 We have seen also how that he, as a reformer, in- 
 troduced many improvements and developed both 
 forms and styles, using greater freedom in modulation, 
 choice of keys — both for sections and movements — and 
 bringing about the further evolution and perfection of 
 the minutely analytical thematic style. In his sonatas 
 we find the greatest possible range of the emotions ; he 
 combined the merry wit of Haydn, and the lyric ten- 
 
286 Conversations on the Pianoforte Classics. 
 
 derness of Mozart with the deepest intensity of feeling, 
 culminating in the tragic and the religious, soaring 
 ambition and deepest despair. 
 
 ■fe * <S 
 
 In the third or latest period we have found some- 
 times reflectiveness and an almost morbid introspec- 
 tiveness previously foreign to his nature. The attempt 
 to subdue and blend the fugal style with that of the 
 sonata was not quite successful, it was, indeed, an ideal 
 hardly possible of accomplishment. The two art 
 structures, built as they are on quite different lines 
 and in different styles, could scarce make a really 
 satisfactory blend. It is true that as a cyclical form 
 we admit various styles of movement; an occasional 
 old dance movement or air with variations may not 
 upset the balance of the whole, but with the introduc- 
 tion of a fugue we set up two conflicting powers or 
 standards — the pope versus the emperor, as it were, 
 and the design naturally does not make for unity. 
 
 Beethoven, however, wrote sonatas without a single 
 movement in sonata form, and though the thematic 
 style may be present it is doubtful whether they can 
 be described as "sonatas," though, of course, the mere 
 name does not matter much. 
 
 No doubt they were experiments and may be taken 
 as such. Similarly, his experiments with two and four 
 movements, together with his later consideration of the 
 
Beethoven (i8i6-2j). 387 
 
 possibility of omitting some of the minuets and 
 scherzos point to his perception of the via media in 
 this as in other matters connected with the sonata. 
 
 It was this habit of experiment and his continuous 
 efforts to develop this one form above all others, that 
 led Beethoven to achieve such a height of perfection 
 in the tonal art as has never since been attained. 
 
 « « -fe 
 
 In such a manner also does Bach now come down to 
 us as the perfector of the polyphonic phase of the art. 
 
 The mention of Each recalls to us the scope of this 
 work, and looking backwards, we can commune with 
 Bach, Handel, Haydn, Mozart and Beethoven — ■ 
 and discerning the excellencies of each can sympathise 
 with KuUak in his work on the "Beautiful in Music," 
 when he says (the italics are the author's) : " No one 
 has ever felt more devoutly than Bach, more happily 
 than Mozart, or with more gigantic fower than Beet- 
 hoven!' 
 
 <S <& 4 
 
 What remains to be considered of Beethoven's 
 pianoforte works need not detain us long. There are 
 the "Diabelli" Variations, undertaken as a kind of 
 jeu d' esprit, the posthumous capriccio, "Rage over a 
 Lost Penny," and a few bagatelles, etc., the whole of 
 them written prior to, or at about the same time, as the 
 last sonata. 
 
288 Conversations on the Pianoforte Classics. 
 
 Of these miscellaneous pieces the Bagatelles, Op. 
 iig and 126 (1823), I take to have originally been 
 
 sketches for various sonata or other move- 
 
 Tlie later , •. • <. ■ ■ 
 
 J, . ,, ments, or as it were, experiments in various 
 
 styles, rounded off and made available for 
 educational or recreative purposes. In the Op. 119, 
 the Allegretto No. i in G minor, is a graceful and 
 sprightly minuet. No. 2, the Andante con moto in C 
 is a neat and melodious songlike movement with cross- 
 ing of hands. No. 3, a I'Allemande in D is in the 
 style of a German waltz. No. 4, Andante Cantabile 
 in A might have been intended as an andante move- 
 ment for a sonatina. No. 5, Resoluto in C minor re- 
 minds one of a movement in the violin sonatas, while 
 No. 6 is a playful and effective scherzo preceded by 
 an introductory andante. The others are of a more 
 miscellaneous nature. 
 
 The Bagatelles, Op. 126, belonging to a later period, 
 are generally more ambitious in character. 
 
 No. I, Andante con moto, is in song form with the 
 middle section having the theme in the bass. The 
 fanciful fairy-tale. No. 2, Allegro in G minor, reminds 
 one of Schumann's " Knecht Ruprecht " sketch. No. 3, 
 Andante in E flat, is a charming and expressive 
 andante movement with variations. No. 4, a Presto in 
 B minor, like No. 2, is in the supernatural style — we 
 might name this as a dance of the gnome kings. No. 
 
Beethoven (1816-2^). 289 
 
 5i in G, makes a good legato study and was possibly a 
 sonatina movement originally, while No. 6 is a graceful 
 and interesting andante with an introductory presto. 
 
 Like the inventions of Bach the bagatelles of Beet- 
 hoven may be considered as educationally useful. For 
 instance, the last two numbers, Nos. 5 and 6, are useful 
 as double thirds and legato studies, while Nos. i, 3 
 and 5 of the Op. 1 19 are valuable for phrasing and 
 staccato purposes. 
 
 Of the other miscellaneous pieces there are the light and 
 graeeful sketch, "F-iir Elise," reminiscent of the- finale 
 to the D minor Sonata, Op. 3 1 ; the interesting Allegretto 
 in C minor — a quasi-scherzo minuet ; the short sketches, 
 " Lustig-Traurig " (joyful and sorrowful), and 
 Clavierstuck in B flat and two other bagatelles of 
 which No. I makes an effective scherzo and a useful 
 double third study. No. 2 is also in scherzo style. 
 
 ■4 =fe -fe 
 
 The posthumous Rondo a Capriccio entitled "Rage 
 over a Lost Penny" is one of the rare instances of 
 The " Eage pianoforte programme music by Beethoven 
 over a lost and like the best of its kind it aims only at 
 Penny." j.jjg characterisation of certain moods. 
 Schumann coming across this work at a time when 
 the "Philistines," as he termed them (ultra-classicists, 
 who looked down upon all programme music), ex- 
 presses the greatest delight over it and takes the 
 opportunity of smiting the Philistines hip and thigh. 
 
 Beethoven— 7 
 
iQo Conversations on the Pianoforte Classics. 
 
 Much depends upon the interpretation of this musi- 
 cal joke and whether it brings out the sense of mystery, 
 humour and petulance which are depicted in the mani- 
 fold treatment of what is quite a simple theme, depict- 
 ing in the first place merely innocent surprise as to 
 where that penny can have gone. Characteristic 
 
 Roiido a Capriccio, Op. 123. 
 No. 43- Allegro Vivace >- ^ ,^ . ^ ^ ,_^ . 
 
 
 (Rage over a lost penny) 
 
 fi S 6 t S S 8 S ♦? «^ •^- <^ ^ \ •'- •?- 
 
 modulations and ingenious treatment meet one apace 
 and the devices of imitation, sequence, fugato and 
 inverted counterpoint are frequently in evidence. 
 
 4 * « 
 
 Other miscellaneous works are an organistic Prelude 
 in F minor (1805), rustic, German and country-dances 
 and some minuets; for Beethoven, like Mozart, did not 
 disdain to write sets of these simple, and what are now, 
 old-fashioned measures. 
 
 « 4 <s 
 
 The last pianoforte publication of Beethoven, the 
 " Diabelli " Variations, deserves special attention as a 
 
Beethoven (1816-23). 201 
 
 the supreme example of the variation form. 
 
 Diabelli The story connected with the work is that 
 Variations, the composer-publisher, Diabelli, invited 
 the most eminent composers of the day to write varia- 
 tions on a waltz theme of his own. 
 
 Liszt tells the tale that Beethoven some time after- 
 wards appeared at Diabelli's, exclaiming: "There! 
 you asked for one variation. Here are thirty-three, 
 and now 'for God's sake!' leave me in peace!" The 
 publication ultimately appeared in two volumes — the 
 thirty-three of Beethoven in one volume and fifty by 
 other composers (including one by the youthful pro- 
 digy, Liszt) in the other. 
 
 111. me of Diabelli's Waltz. 
 No. 44. Vivara 
 
 ) 
 
 -I — 1 — I— ,-- ■ a-l-fl -■— •-t •-•—•— 4 _ 
 
 =*=:rt=t 
 
 -r- • •--«-• — • -V a-m — •—- f • - • " 
 
 sf 
 
 S^=f^l!:3:p^Kf^p|lp3^|i 
 
 Von Biilow speaks of this work as evincing '"all the 
 evolutions of musical expression from the loftiest 
 sentiments to the broadest humour." One is lost in 
 wonder at the ingenuity displayed in the evolution of 
 so much out of so little. 
 
 It goes without saying that the manipulation of the 
 theme is very free. The term "transformation" rather 
 
292 Conversations on the Pianoforte Classics. 
 
 than "variation" would indeed often be the most 
 correct description. 
 
 The connecting link with the original varies — being 
 harmonic, melodic or rhythmic or even as in No. 13 
 when the analogy is established only by cadences with 
 intervening rests. 
 
 Various styles appear as No. i, a march; No. 3, 
 Landler; No. 14, funeral march; No. 20, organ pre- 
 lude; No. 22, air by Mozart; No. 31, the usual adagio; 
 No. 32, fugue. The finale, No. 33, transforms the little 
 waltz into a stately and elaborate Mozartean minuet. 
 No. 13 is intended as a joke since the hearer has to fill 
 in the melody himself, the rhythm only being given. 
 
 Variatjpn Thirteen. 
 No. 45. VivacQ 
 
 n-.-j . ._: J^.-j 
 
 SzR3ll[|3^feez^f5^e^f[ 
 
 -•-• • 
 
 
 ^^^^^l^^^[t^^^Ef^^ 
 
 
 Space fails for a detailed description, but the presto. 
 No. 10, the inverted counterpoint of No. 18, the imita- 
 tion in No. 19 and the freshness of the finale call for 
 special note. 
 
 ■6 4 4 
 In conclusion we might remind the student that 
 
Beethoven (1816-2^). 293 
 
 Beethoven Beethoven's work forms the climax of the 
 
 the Climax formal or sonata age, just as in Bach and 
 
 of Formal Handel we have the perfection of the 
 Music. ,- , 
 
 polyphonic era. 
 
 In Beethoven's works we perceive the greatest con- 
 centration and development of musical ideas and the 
 resulting perfection of unity and symmetry. 
 
 With Bach and Handel perfect clearness of effect is 
 also evolved out of the maze of conflicting voices — 
 the relationship between these two pas'; masters as well 
 as Beethoven's dependence upon Bach can be traced in 
 the former's advice: "Play a great deal of Bach and 
 everything will become clear to you." 
 
 In spirit and style the great sonata composer was a 
 giant, but beyond that we know we can find in his music 
 every phase of artistic beauty as well as the greatest 
 nobility, purity, depth and tenderness of thought. 
 
 * <fe <fe 
 
 Looking through the vista of the musical past, as 
 we have tried to describe in this little work, we have 
 A Review noted the emotion and pathos of Bach, 
 and the high sounding dramatic melody of 
 Conclusion. Handel, the limited but virtuoso brilliancy 
 of Scarlatti, the wit and humour of Haydn, the grave 
 sweetness of Mozart and the melodious and pianistic 
 style of Clementi, but it is in Beethoven alone that we 
 have the combination of all these. 
 
 Looking ahead — there is much to tempt us in the 
 glowing harmonies and modulations of Schubert, 
 
294 C onversations on the Pianoforte Classics. 
 
 Chopin, Schumann and Grieg, the virtuoso presenta- 
 tions of Liszt and Henselt, and the weird and highly 
 original works of the new national schools. The 
 literature of the pianoforte becomes exceedingly 
 diverse and interesting. Let us not forget that the 
 present is built upon the past, and our future study of 
 the great romantic and national schools will be none 
 the less clear and instructive for having analysed and 
 enjoyed the pianoforte classics of the past. 
 
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 (Reeves.) 3s. 6d. 
 
 Reinecke. "Letters to a Lady on the Sonatas." 
 (Augener, 9210.) 2s. 6d. 
 
 Beethoven in "Master Musician" Series, 
 lograp les. ^j-j^^^.^ ^^ g^ . ^^^ BEETHOVEN by Rudall. 
 
 (Low.) 3s. 
 
 NOHL. "Life." (Reeves.) 3s. 6d. 
 
 NOHL. "Beethoven Depicted by his Contempor- 
 aries," 1876. (Reeves.) 
 
 Gregory Mason. " Beethoven and his Forerunners." 
 (Macmillan.) 8s. 6d. 
 
 Kerst. "Beethoven, The Man and the Artist." 
 (Trans. Krehbiel, 1906.) 
 
 See also Grove's "Dictionary." 
 
 Tovey. " New Library of Music." (Methuen.) ;s.6d. 
 
CATALOGUE B 
 
 LIST OF 
 
 BOOKS ON MUSIC 
 
 Literature covering every branch 
 of Music, Biographical and Critical 
 Studies of Composers, Histories of 
 Musical Instruments, also valuable 
 Textbooks and Tutors for Teachers 
 and Students of the Piano, Organ, 
 VioUn, CeUo, Theory, Singing, etc. 
 
 All prices are net and postage extra 
 
 Published by 
 
 WILLIAM REEVES Bookseller Limited 
 la Norbury Crescent, London, S.W.16 
 
 Phone POLlards 2108 
 
HISTORICAL, DESCRIPTIVE AND 
 
 ANALYTICAL ACCOUNT OF THE 
 
 ENTIRE WORKS OF 
 
 BRAHMS 
 
 BY 
 
 EDWIN EVANS 
 
 (SENIOR) 
 
 The works are treated in the order of their opus number, 
 and every single composition is dealt with exhaustively. No 
 other work with such a wealth of detail exists in any 
 language. The whole, being adequately indexed, forms a 
 complete reference book for pianist, student and concerts 
 goer, and may be described as monumental. 
 
 Of the CHAMBER AND ORCHESTRAL music, a minute 
 analysis reaching to the rhythmical significance of each 
 bar is given. 
 
 The analytical accounts of the PIANO works are each 
 subdivided under the headings : Key ; Time and Extent ; 
 Thematic Material ; Melody ; Harmony ; Rhythm ; etc. 
 
 The CHORAL works are dealt with in the fullest detail, 
 and original English translations have been made to most 
 of the SONGS. 
 
 Each volume is a self-contained unit and a complete 
 textbook on its particular subject. 
 
 WITH 1,500 PAGES AND OVER 1,000 MUSIC 
 
 EXAMPLES AND TABLES, COMPLETE IN 1 
 
 VOLUMES. OCTAVO, CLOTH, £6 net. OR 
 
 SOLD SEPARATELY AS FOLLOWS:— 
 
 ChaiYiber and Orchestra.! Works. First 
 Series to Op, 67. 30s. net. 
 
 Chamber and Orchestral Works. Second 
 Series. Op. 68 to the end. 30s. net. 
 
 Piano and Org^an Works. Comprising the 
 complete Solo Works ; Works for Piano and Orchestra ; also 
 Works for Piano Duet and Organ Works as applicable to 
 Pianoforte Solo. JOs. net. 
 
 Vocal Works. With portrait. 599 pages. 30s. net. 
 
 " This treatise is oomparabl*. only to the Eochel catalogue of Mosart. 
 Besearoh and detail could go no further; this book, a, labour of loTe in- 
 deed, will be the standard work of reference on Brahms for this cen- 
 tury, if uot longer." — T?ie Library Assistant. 
 
/ESTHETICS, CRITICISMS, ESSAYS. 
 
 PAN PIPES. THE SPIRIT OF MUSIC m Nature, Art and 
 Legend, from East to West. Penned in Sixteen Ar- 
 ticles for General Reading, with Drawings of Eastern 
 Musical Instruments By G. P. Grebn (author oj 
 " Some Aspects of Chinese Music ")• Crown 8vo, cloth, 
 7s. 6d. net. 
 
 HOW TO LISTEN TO GOOD MUSIC and Encourage the 
 Taste in Instrumental and Vocal Music. With many 
 useful Notes for Listener and Executant. By K. Broad- 
 ley Greene. Complete, cloth, 7s. 6d. net; or in two 
 books, paper, 2s. 6d. net each. 
 
 MOZART, WEBER AND WAGNER, with Various other 
 Essays on Musical Suhjects. By Hector Berlioz. 
 Translated from the French hy Edwin Evans, Senior, 
 F.R.C.O. Crown 8vo, cloth, 10s. net. 
 A charming. Book of Musical Essays. 
 
 SOME FAMOUS SYMPHONIES, How to Understand 
 Them. With their Story and Simple Analysis. Refer- 
 ences also to Gramophone Records ; numerous Portraits. 
 By J. F. PoRTB. Dealing with Symphonies of Beet- 
 hoven, Berlioz, Borodin, Brahms, Chausson, Dvorak, 
 Elgar, Cesar Franck, Haydn, Mendelssohn, Mozart, 
 Schuhert, Stanford and Tchaikovsky. Complete in cloth, 
 8s. net, or in 2 separate parts, paper, 2s. 6d. net each. 
 For the general reader and musician alike. 
 THE DEATH AND RESURRECTION OF THE MUSICAL 
 FESTIVAL. By Rutland Boughton. 8vo, sewed, Is. net. 
 The Decay of Triennials — The Else of Competitions — The Reform of Com- 
 petitions — The FostiTal of the Future. 
 
 SOME ASPECTS OF CHINESE MUSIC AND SOME 
 THOUGHTS AND IMPRESSIONS ON ART PRINCI- 
 PLES IN MUSIC. By G. P. Geebn. Post 8vo, cloth, 
 6s. net, paper covers, 3s. 6d. net. 
 
 THE FUTURE OF MUSIC. Coming Changes Outlined in 
 Regard to Composer, Conductor and Orchestra. By 
 Louis Lalot. Translated by Mrs. Franz Liebich. 8vo, 
 cloth, 3s. 6d. net; paper, 2s. net. 
 
 SOME ASPECTS OF GIPSY MUSIC. By D. C. Parker. 
 Post 8vo, cloth, 6s. net (or paper covers, 3s. 6d. net). 
 
 MUSIC AND MUSICIANS. Essays and Criticisms, by Robert 
 Schumann. Translated, Edited and Annotated by F. R. 
 RiTTER. Portrait of Robert Schumann, photographed 
 from a Crayon by Bbndemann. First Series, Eighth 
 Edition. Thick crown 8vo, cloth, 419 pages, 15s. net. 
 
 Ditto. Second Series. Fourth Edition, with a Contents- 
 index added. Thick crown 8vo, cloth, 540 pages, 
 15s. net. 
 
4 ESTHETICS. OBITIGISMS, ESSAYS. 
 
 THE DEEPER SOURCES OF THE BEAUTY AND EXPRES- 
 SION OF MUSIC. By Joseph Goddard. With many 
 Musical Examples. Crown 8vo, cloth, 7s. 6d. net. 
 
 MUSIC AND THE HIGHER EDUCATION. Art a Neces- 
 sity in the College World. The Teacher's Preparation 
 and his Method. By Edward Dickinson. Crown 8vo, 
 cloth, 10s. net. 
 
 WOMAN AS A MUSICIAN. An Art Historical Study. By 
 F. R. RiTTER, 8vo, sewed, 3s. net. 
 
 MUSICAL DEVELOPMENT, or, Bemarks on the Spirit of 
 the Principal Musical Forms. Being an ^sthetical In- 
 vestigation, in which an Attempt is made to show the 
 Action in Music of certain Laws of Human Expression ; 
 to point out what are the Spiritual Aims of the Chief 
 Forms of Composition, and the Broad Principles upon 
 which they should he Constructed. By Joseph Goddard. 
 8vo, cloth, 10s. net. 
 
 IN THE SERVICE OF ART. A Plea for Simplicity in 
 Music. By J.-Joachim Nin. Translated hy Mrs. Franz 
 LiEBiCH. Post Svo, 2s. 6d. net. 
 TraDslations of this brilliant essay liave already appeared in Spanish, 
 Italian and German. 
 
 THE PLACE OF SCIENCE IN MUSIC. By H. Saint- 
 Gborgb. Addressed to Advanced Students of that 
 branch of Musical Knowledge commonly called Har- 
 mony. With music examples. Svo, sewed, 2s. 6d. net. 
 
 NECESSITY OF MUSIC IN THE SCHOOL CURRICULUM. 
 Address delivered to Members of the Music Teachers' 
 Association. By A. W. Polmtt, Mus.D., F.B.C.O. 
 Svo, sewed, Is. 6d. net. 
 
 /ESTHETICS OF MUSICAL ART, or, The Beautiful in Music. 
 By Dr. Ferdinand Hand. Translated from the German 
 hy Walter E. Lawson, Mus.Bac. Cantab, etc. Second 
 Edition. Crown Svo, cloth, 10s. net. 
 
 NATIONAL SCHOOL OF OPERA FOR ENGLAND. Being 
 the Substance of a Paper read at Trinity College, Lon- 
 don. By Frank Austin. Is. net. 
 
 MATERIAL OF MELODY and Early Steps in Musical Art. 
 By J. H. Lewis. 5d. net. 
 
 MUSIC IN THE HIRSCH LIBRARY (Part 53 of the Cata- 
 logue of Printed Music in the British Museum), by A. 
 Hyatt King and C. Humphries, 19S1. Published for the 
 Trustees of the British Museum. This catalogue, pre- 
 pared by the Museum staff, lists also a considerable num- 
 ber of works which were either not included in the original 
 four volume catalogue by P. Hirsch, or were acquired 
 later. 4to, cloth, £2 2s. net. 
 
BOOKS ABOUT MUSICIANS AND 
 THEIR WORKS. 
 
 I.— COLLECTED. 
 
 ON RUSSIAN MUSIC. Oi'itical and Historical Studies 
 of Glinka's Operas, Balakirev's Works, etc. With 
 chapters dealing with Compositions by Borodin, 
 Rimsky-Korsakov, Tchaikovsky, Mussorgsky, Glazunov, 
 and various other Aspects of Russian Music. By Gbkam 
 Abraham. With Frontispiece and Music Examples. 
 8vo, cloth, ISs. net. 
 
 Companion to the same author's " Studies in Russian 
 Music." 
 
 STUDIES IN RUSSIAN MUSIC. Rimsky-Korsakov and 
 his Contemporaries. Critical Essays on the most im- 
 portant of Kimsky-Korsakov's operas, Borodin's 
 "Prince Igor," Dargomizhsky's "Stone Guest," etc.: 
 with chapters on Glinka, Mussorgsky, Balakirev and 
 Tchaikovsky. By Gbrald Abraham. Copiously illus- 
 trated by music examples. 350 pages, crown 8vo, cloth, 
 18s. net. 
 
 FROM MENDELSSOHN TO WAGNER. Being the Memoirs 
 of J. W. Davison, forty years Music Critic of "The 
 Times," compiled by his son, Henry Davison, from 
 Memoranda and Documents. With 62 portraits of 
 Musicians and Important Letters (previously unpub- 
 lished) of Mendelssohn, Berlioz, Gounod, JuUien, Mac- 
 farren, Sterndale Bennett, etc. Index, 539 pages, Svo, 
 cloth, 2Ss. net. 
 
 WITH THE GREAT COMPOSERS. A Series of Pen Pic- 
 tures, exhibiting the Personal Characteristics as Artists 
 of the World's great Tone Poets in the form of Inter- 
 views. By Gerald Cumberland. Portraits. Cr. Svo, 
 cloth, 10s. net. 
 
 Deals with Chopin, Haydn, Mendelssohn, Paganini, Beethoven, Handel, 
 Rossini, Schubert, lAszt, Berlioz, Mosart, Wagner, Tchaikovsky, Chern- 
 bini, Wolf, Borodin, Schumann, Sullivan. 
 
 THE SYMPHONY WRITERS SINCE BEETHOVEN. Criti- 
 cal Essays on Schubert, Schumann, Gbtz, Brahms, 
 Tchaikovsky, Bruckner, Berlioz, Liszt, Strang Mahler, 
 Mendelssohn, Saint-Saens, etc. By Feux Wbingart- 
 NHR. Translated by A. Bles. Twelve Portraits. 
 Second Impression. With Chapter added by D. C. 
 Parker on Weingartner's Symphony No. 5. Crown Svo, 
 cloth, 12s. 6d. net. \ 
 
6 BOOKS ABOUT MUSICIANS AND TEEIB WORKS. 
 
 REEVES' DICTIONARY OF MUSICIANS. Biographical Ac- 
 counts of about 2,500 Noteworthy Musicians of the Past 
 and Present. Edited by Edmondstodnb Duncan and 
 Others. Crown 8vo, cloth, 7s. 6d. net (paper covers, 4s. 
 net). 
 
 SKETCHES OF GREAT VIOLINISTS AND GREAT PIAN- 
 ISTS. Biographical and Anecdotal, with Account of 
 the Violin and Early Violinists. Viotti, Spohr, Paga- 
 nini, De Beriot, Ole Bull, Clementi, Moscheles, Schu- 
 mann (Robert and Clara), Chopin, Thalberg, Gottschalk, 
 Liszt. By G. T. Ferris. Third Edition. Crown 8vo, 
 cloth, 8s. 6d. net. Edition with Portraits to each, 10s. net. 
 
 SKETCHES OF ENGLISH GLEE COMPOSERS. Historical, 
 Biographical and Critical. From about 1735-1866. By 
 
 D. Baptie. Post 8vo, cloth 8s. 6d. net. 
 
 ENGLISH GLEE AND MADRIGAL WRITERS. By W. A. 
 
 Barrett. 8vo, cloth, 6s. net (paper covers, 3s. 6d. net). 
 
 SOME MUSICAL RECOLLECTIONS OF FIFTY YEARS. 
 
 By RioHARD Hoffman. With Memoir by Mrs. Hoff- 
 man. Illustrated with many Plate Portraits. Crown 
 8vo, cloth, 10s. net. 
 
 MUSICAL MEMORIES. By William Spark, Mus.Boc. (late 
 Organist of the Town Hall, Leeds). Eevised Popular 
 Edition. With sixteen Portraits. Thick orown 8vo, 
 cloth, 10s. net. 
 
 BIOGRAPHICAL DICTIONARY OF FIDDLERS. Including 
 Performers on the Violoncello and Double Bass, Past 
 and Present. Containing a Sketch of their Artistic 
 Career, together with Notes of their Compositions. By 
 A. Mason Clarke. Nine Portraits. Post 8vo, cloth, 
 10s. net. 
 
 " Wo may here take the opportunity of reoommending' a useful book to 
 all lovers of Tioline and Tiolinists. Fiddlers, Anoient and Modern, is 
 practically a little Biographical Dictionary, well arranged, with some 
 excellent portraits."— 2Vortfi«rre Whig. 
 
 HOW TO STUDY THE PIANOFORTE WORKS OF THE 
 GREAT COMPOSERS. By Hbrbbrt Westerbi 
 Mus.Bac. Handel, Bach, Haydn, Scarlatti, Mozart, 
 Clementi, C. P. E. Bach. With Portraits and Musical 
 Examples throughout. Crown 8vo, cloth 12s. net. 
 
 The following issued singly, paper covers : 
 
 Handel, Is.; D. Scarlatti, Is.; J. S. Bach, Is. 6d.; C. P. 
 
 E. Bach and Haydn, Is.; Clementi, Is.; Mozart, Is. 6d. 
 
BOOKS ABOUT MUSICIANS AND THEIB WOBKS. 7 
 
 MAKERS OF MUSIC. Biographical Sketches of the Great 
 Composers. With Chronological Summaries of their 
 Works and Facsimiles from Musical MSS. of Bach, 
 Handel, Purcell, Dr. Arne, Gluck, Haydn, Mozart, 
 Beethoven, Weher, Schubert, Berlioz, Mendelssohn, 
 Chopin, Schumann, Wagner, Verdi, Gounod, Tchaikov- 
 sky, Brahms and Grieg, with General Chronological 
 Table. By R. Farquharson Sharp. Numerous Por- 
 traits. Fourth Edition, Revised and Enlarged. Crown 
 8vo, cloth, 12s. 6d. net. 
 
 The author's «:ideaToar throughout this work has been to convey an im< 
 pression of the personality of eaoh composer, as well as to furnish bio- 
 graphical details^ At the end of each biography is a tabulated list of the 
 oompoaer's works and dates of production, together with a facsimile from 
 one of his original manuscripts. A useful volume, got up in good style 
 and well adapted for a gift or prise. Has speedily run into several 
 editions. 
 
 BRITISH MUSICAL BIOGRAPHY. A Dictionary of Musical 
 Artists, Authors and Composers bom in Britain and its 
 Colonies. By J. D. Brown and S. S. Stratton. 8vo, 
 cloth, 21s. net. 
 
BOOKS ABOUT MUSICIANS AND 
 THEIR WORKS. 
 
 II.— INDIVIDUAL. 
 
 BACH. A DIGEST OF THE ANALYSES OF J. S. BACH'S 
 FORTY-EIGHT CELEBRATED FUGUES FROM THE 
 WELL-TEMPERED CLAVIER (Das Wohltemperirte 
 Klavier). With over 1,600 Music Examples and 46 
 Tables. The five parts in one thick royal 8vo vol., cloth, 
 2Ss. net. Compiled by Brook Sampson, F.R.C.O. 
 The following parts can be had separately : — 
 Section I, Subject, Answer, Theme. 2s. 6d. net. 
 Section II, Exposition, Counter-Exposition, Plan of Con- 
 struction. 2s. 6d. net. 
 Section III, Subject and Counter-Subject, etc. 5s. net. 
 Section IV, Codetta and Episodes. 5s. net. 
 Section V, Stretti — Summary of Interesting Facts — 
 General Index. 5s. net. 
 
 THE FORTY-EIGHT FUGUES IN THE WELL-TEMPERED 
 CLAVIER (Das Wohltemperirte Klavier). By J. S. 
 Bach. Analysed by Brook Sampson, Mus.Bac. Oxon., 
 F.E.G.O. 
 
 Following obtainable. Is. 6d. net each. 
 No. 4, in C sharp minor No. 29, in D major 
 
 No. 9, in E major No. 34, in E minor 
 
 No. 16, in G minor No. 36, in F minor 
 
 No. 18, in G sharp minor No. 38, in F sharp minor 
 
 No. 24, in B minor No. 40, in G minor 
 
 No. 28, in C sharp minor 
 
 OUTLINE ANALYSIS OF BACH'S FORTY-EIGHT FUGUES. 
 
 By Brook Sampson. 3s. net. 
 
 BALFE: HIS LIFE AND WORK. By Wm. Albxandbe 
 Barrett. Over 300 pages. Crown 8vo, cloth, 12s. 6d. net. 
 
 A CRITICAL STUDY OF BEETHOVEN'S NINE SYM- 
 PHONIES, with a Few Words on His Trios and 
 Sonatas, a Criticism of "Fidelio" and an Introductory 
 Essay on Music. By Hector Berlioz. Translated from 
 the French by Edwin Evans, Senior. Portrait. Crown 
 8vo, cloth, 21s. net. 
 
 BEETHOVEN AND HIS PIANO WORKS (Sonatas,_ Con- 
 certos, Variations, etc.). Descriptive and Analytic Aid 
 to their Understanding and Rendering. By Herbert 
 Westehbt. With list of Principal Editions and Bib- 
 liography. 3 illustrations, 45 music examples. Crown 
 8vo, cloth, IDs. net. 
 
BOOKS ABOUT MUSICIANS AND THEIB WOBKS. 9 
 
 "The Immortal Ninb." 
 
 BEETHOVEN'S NINE SYMPHONIES. Fully Described 
 and Analysed. A Series of Chapters giving a complete 
 Account of Thematic Material and auxiliary Motives : 
 an Analytical Chart of each Movement ; full Technical 
 Descriptions of Developments ; Particulars of Formal 
 and Ehythmio Features ; Epitomieal Tables, etc. Illus- 
 trated by 637 Musical Examples. By Edwin Evans 
 (Senior), author of "Handbook to the Vocal Works of 
 Brahms," etc. Cloth, Vol. I (Nos. 1 to 5), 17s. 6d. net. 
 Vol. II (Nos. 6 to 9), 17s. 6d. net. 
 
 BEETHOVEN'S SYMPHONIES in their Ideal Significance, 
 Explained by Ernst von Eltbrlein. Translated by 
 Fhanois Webbb. With an Account of the Facts Relat- 
 ing to Beethoven's Tenth Symphony. By L. Nohl. 
 Second Edition, with Portrait. Crown 8vo, cloth, 
 10s. net. 
 
 BEETHOVEN'S SYMPHONIES Critically Discussed by Alex- 
 ander Teetqen. With Preface by John Broadhousb. 
 Second Edition. Post 8vo, cloth, 6s. 6d. net. 
 
 BEETHOVEN'S PIANO SONATAS. A Descriptive Com- 
 mentary on the Sonatas in the light of Schnabel's In- 
 terpretations ; giving an sesthetic Appreciation of each 
 Sonata, with an Outline of the Development of the 
 Sonata Form in Beethoven's hands. With a Biographi- 
 cal Sketch of Schnabel and an account of his activity as 
 an executant, composer and teacher. By Rudolf Kast- 
 NBR. Englished by Gerald Abraham. 65 pages, post 
 8vo, cloth, 5s. 6d. net (paper, 3s. 6d. net). 
 
 BEETHOVEN'S PIANOFORTE SONATAS Explained for the 
 Lovers of the Musical Art. By Ernst von Elterlein. 
 Translated by E. Hill, with Preface by Ernst Pauer. 
 Revised Edition (the Seventh issue). With Portrait, 
 and View of Beethoven's House. Grown 8vo, cloth, 
 10s. net. 
 
 " He writes with the ripe knowledge and thorough understanding of 
 a praotioal mttBicicba. Every musioal student or amateur can safely trust 
 him as a oompetent and agreeable guide." — ^E. Faubb. 
 
 NOTES ON THE INTERPRETATION OF 24 FAMOUS PIANO 
 SONATAS OF BEETHOVEN. By J. Alfred John- 
 stone (author of "The Art of Teaching Piano 
 Playing,'' " Piano Touch, Phrasing and Interpretation," 
 etc.). Portrait, crown 8vo, cloth, 12s. 6d. net. 
 
10 BOOKS ABOUT MUSICIANS AND TEEIB WORKS. 
 
 BEETHOVEN. By Eiohabb Wagkeb. With a Supplement 
 
 from the Philosophical Works of Arthur Schopenhauer. 
 
 Translated by Edward Dannbbuther. Third Edition. 
 
 Crown 8vo, cloth, 12s. net. 
 
 " It is a plaia duty to be familiar and even intimate with the opinion 
 
 of one famous man about another. Gladly therefore we welcome Mr. 
 
 Dannreuther's translation of the work before us. Mr. Danureuther has 
 
 achiOTed hia task with the oonBcientiousness of his nature and with a 
 
 success due to much tact and patience." — Musical Timas. 
 
 " This work contains his contributions towards the metaphysios of 
 Aiusic, if, indeed, such can be said to exist. Apart, however, from meta- 
 physics, the work is an exposition of Warner's thougrhts on the aigrnifl- 
 aftuce of Beethoven's music." — Grove's Dictionary. 
 
 BORODIN THE COMPOSER AND HIS MUSIC. A Descrip- 
 tive and Critical Analysis of his Works and a Study 
 of his Value as an Art Force. With many references 
 to the Russian Kouchka Circle of Five — ^Balakirev, 
 Moussorgsky, Cesar Cui and Rimsky-Korsakov, with 
 Borodin. By G. E. H. Abeaham. With 5 Portraits. 
 Thick crown 8vo, cloth, 15s. net. 
 
 LIFE OF JOHANNES BRAHMS. By Florence May. Second 
 Edition. Revised by the Author, with additional matter 
 and Illustrations, and an Introduction by Ralph Hill. In 
 2 vols., 8vo, cloth, 35s. net. 
 
 LIFE OF CHOPIN. By Franz Liszt. New and very much 
 Enlarged Edition. Translated in full now for the first 
 time by John BROADHOtrsE. Second Edition, Corrected. 
 Crown 8vo, cloth, 10s. net. 
 
 " Franz Liszt has written a charming sketch of Chopin's life and art." 
 —Encyclopasdia Britannica. 
 
 '' Liszt's criticisms upon his separate works have all the eloquent mys- 
 ticisms to be expected from him ; and the biography is a book musioians 
 will always prize." — Sunday Times. 
 
 Georqe SAirn describes it as " un pen exuberent en style, mais rempli 
 de bonnes ohoses et de tres belles pages." 
 
 CHOPIN, HIS LIFE AND LETTERS. By Moritz Kara- 
 sowsKi. Translated by Emily Hill. Third Edition, 
 with additional Letters in Polish with English transla- 
 tion, Chopin to Grzymala, and extra Illustrations. 
 Fourteen Illustrations. Crown 8vo, cloth, 21s. net. 
 Earasowski was a close friend of the family of Chopin and was in- 
 timate with them for several years. He was given access to the letters, 
 many of which were subsequently destroyed during the Warsaw insur- 
 rection, written by Chopin to his family in Poland throughout his life 
 abroad. These facta give this work particular value, and to it we are 
 also indebted for valuable information regarding Chopin's life. 
 
 CHOPIN'S GREATER WORKS (Preludes, Ballads, Noc- 
 turnes, Polonaises, Mazurkas). How they should be 
 Understood. By J. Klbczynski. Including Chopin's 
 Notes for a "Method of Methods." Translated with 
 additions by N. Janotha and Edited by Sutherland 
 Edwards. Seooud Edition. With three Portraits and 
 a Facsimile. Crown 8vo, cloth, 8s. 6d. net. 
 
BOOKS ABOUT MUSICIANS AND THEIB WOBKS. 11 
 
 FREDERIC CHOPIN, Critical and Appreciative Essay. By 
 J. W. Davison, forty years Music Critic of "The 
 Times." 8vo, 3s. net. 
 
 CHOPIN: AS REVEALED BY EXTRACTS FROM HIS 
 
 DIARY. By Count Tarnowski. Translated from the 
 
 Polish by N. Janotha. With eight Portraits. Crown 
 
 8vo, cloth, 6s. net (or paper cover, 3s. 6d. net). 
 
 In the above notes Chopin alludes to many of his compositions as well 
 
 as relating the conditions under whieh they were written. 
 
 CHOPIN THE COMPOSER AND HIS MUSIC. An Ana- 
 lytical Critique of Famous Traditions and Interpreta- 
 tions, as exhibited in the Playing of Great Pianists, 
 Past and Piesent. By John F. Porte. With portrait. 
 193 pages, crown 8vo, cloth, 10s. 6d. net. 
 
 '* Tour excellent book gives me supreme pleasure. Ton judg:e tradition 
 so well. I thank you for your artistic sympathy and your wonderful 
 
 book." — ^MOBITZ ROSKNTHAL. 
 
 HOW TO PLAY CHOPIN. The Works of Chopin. Their 
 Proper Interpretation. By J. Kleczynski. Translated 
 by A. Whittingham. Sixth Edition. Woodcut and 
 Music Illustrations. Crown Svo, cloth, 7s. 6d. net. 
 
 " Contains the cream of Chopin's instrnotions to his own i>upils. To 
 admirera of Chopin and players of his music we should say this book is 
 indispensable." — Bazaar. 
 
 HANDBOOK TO CHOPIN'S WORKS. Detailed Account of 
 all Compositions of Chopin. Short Analyses for Piano 
 Student and Critical Quotations from Writings of 
 Well-known Musical Authors. Also a Short Biography, 
 Critical Bibliography and a Chronological List of 
 Works, etc. By G. C. A. Jonson. Third edition. 
 Crown Svo, cloth, 15s. net. 
 " Here in one compact volume, is all that it is necessary to know about 
 
 Chopin and his works except by the leisured enthusiast." — Baily Chronicle. 
 
 CHERUBINI, LIFE OF. By F. J. Crowbst. Crown Svo, 
 cloth, 6s. net. 
 
 CHERUBINI. Memorials illustrative of his Life. By E. 
 Bellasis. Thick crown Svo, cloth, 12s. 6d. net. 
 Standard biogrraphy of Cherubini. 
 
 CESAR FRANCK. Personal Reminiscences. By J. W. Htn- 
 TON, M.A., Mus.D. Crown Svo, limp cloth, 5s. net. 
 
 GLUCK AND HIS OPERAS. With an Account of their Rela- 
 tion to Musical Art. By Hbctob Berlioz. Translated 
 from the French by Edwin Evans, Senior. Portrait. 
 Crown Svo, cloth, 10s. net. 
 
12 BOOKS ABOUT MUSICIANS AND THEIB WOBES. 
 
 HANDEL'S "MESSIAH." The Oratorio and its History. 
 A Handbook of Hints and Aids to its Public Perform- 
 ance, with useful Notes on each Movement, as well as 
 Numerous Eeferences and much Original Information. 
 By J. Allanson Benson. Cloth, 5s. net (paper 3s. net). 
 
 FRANZ LISZT. By T. Carlaw Martin. A Sketch of his 
 Life and Personality. Post 8vo, 2s. 6d. net. 
 
 LISZT, COMPOSER, AND HIS PIANO WORKS. Descrip- 
 tive Guide and Critical Analysis, written in a popular 
 and concise style. By Herbert Westerby, Mus.Bac. 
 Lon., etc. 5 illustrations, 24 music examples. 336 pp., 
 crown 8vo, cloth, 12s. 6d. net. 
 
 THE ORGAN PARTS OF MENDELSSOHN'S ORATORIOS 
 AND OTHER CHORAL WORKS. Analytically Con- 
 sidered. By Orlando A. Mansfield, Mus.Doc, F.B.C.O. 
 Numerous Musical Examples. Crown 8vo, cloth, 10s. net. 
 net. 
 
 HOW TO INTERPRET MENDELSSOHN'S "SONGS WITH- 
 OUT WORDS " (the celebrated " Lieder ohne Worte "). 
 A Readable and TJsetul Guide for All. Gives the Piano 
 Student helpful Insight into the first Principles of 
 Form in Music. By Charles W. Wilkinson. With 
 portrait and facsimile of MS. Crown 8vo, cloth, 6s. net 
 (paper, 3s. 6d. net). 
 These notes on each of the " Liefer " iwill help the student in playing 
 
 these homely and easily intelligible oompositions. 
 
 ANALYSIS OF MENDELSSOHN'S ORGAN WORKS. A 
 
 Study of their Structural Features. For the Use of 
 Students. By Joseph W. G. Hathaway, Mus.B. Oxon. 
 127 Musical Examples. Portrait and Facsimiles. Crown 
 8vo, cloth, 8s. 6d. net. 
 
 MOZART : a Commemorative Address read before the Posi- 
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 author devoted the best part of his life in compiling the work and collect- 
 ings material for his subject. 
 
 SOME CONTINENTAL ORGANS (Ancient and Modern) and 
 their Makers. With Specifications of many of the fine 
 Examples in Germany and Switzerland. By James I. 
 Wedgewood. Post 8vo, cloth, 6s. 6d. net. 
 
 Contains specification and a brief critique of some of the famous old 
 Continental organs. Describes also several up-to-date Continental organs. 
 Amongst others particulars are given of those at Haarlem, Cologne, 
 Aii-la-Chapelle, Frankfort, Heidelberg, Ulm, Stuttgart, Einsiedeln, Strass- 
 burg and Antwerp. This work forms a valuable supplement to Hopkins's 
 and Himbault's great treatise. 
 
 MODERN ORGAN TUNING, The How and Why, Clearly 
 Explaining the Nature of the Organ Pipe and the 
 System of Equal Temperament, together with an His- 
 toric Record of the Evolution of the Diatonic Scale 
 from the Greek~ Tetrachord. By Hermann Smith. 
 Crown 8vo, cloth, 7s. 6d. net. 
 " The greatest authority on acoustical matters connected with organ 
 
 pipes who has ever lived," says Mr. G. A. Audsley of Hermann Smith 
 
 in his " Art of Organ Building." 
 
 THE TEMPLE EDITION OF ORGAN OVERTURES AND 
 ARRANGEMENTS, all with Ped. Obb. 3s. net each. 
 
 See page 25 for list of about sixty works in this series, including works 
 by Wagner, Tchaikovsky, Beethoven, Mosart, Handel, Berlioz, Qlinka, 
 ScbnbeH;, Gounod, Harold, Mendelssohn, Meyerbeer, Balfe, Anber, Ros- 
 sini, Weber, Wallace, Suppd, Adam, Thomas, Nicolai, Sterndale-Bennett, 
 Cornelius and Flotow, chiefly arranged by Edwin Evans. 
 
 THE INFLUENCE OF THE ORGAN IN HISTORY. By 
 
 Dudley Btjck. Fresh issue with Illustrations. Crown 
 8vo, cloth, 4s. net (or paper, 2s. net). 
 
24 OEGAN. 
 
 ORGANIST'S REPERTOIRE GUIDE. An International 
 Eepertoire Guide (Historical, Educational and Descrip- 
 tive) to Foreign, British and American Works. By 
 Herbert Westerbt, B.B.C. Organ Recitalist (author of 
 "Liszt, Composer, and his Piano Works")- 4to, cloth, 
 17s. 6d. net. 
 Describes the best Organ Music of foreign countries as well as of 
 
 Britain and America. 
 A large and beautifully presented quarto work, fully illustrated by 
 
 thirty-six plates on fine art paper, comprising seven English and sixteen 
 
 foreign organs, thirty-one p<)rtraitB, and illustrations of the houses of 
 
 Bach and Handel. 
 
 REFORM IN ORGAN BUILDING. By Thomas Casson. 
 Crown 8vo, sewed, 2s. 6d. net 
 
 TUTOR FOR THE AMERICAN ORGAN AND HARMONIUM. 
 
 By W. F. Taylor. 4to, 2s. 6d. net. 
 
 THE BYRD ORGAN BOOK, for Piano or Organ. A Collec- 
 tion of 21 Pieces (Pavans, Galliards, etc.), by William 
 Byrd, 1543-1623, edited from the Virginal MSS., and 
 now first published in Modern Notation. By M. H. 
 Glyn, 7s. 6d. 
 " A oharming collection." — West Sussex Gazette. 
 
 ADVICE TO YOUNG ORGANISTS. By J. T. Field. 
 6d. net. 
 
 THE ORGAN FIFTY YEARS HENCE. A Study of its 
 Development in the Light of its Past History and Pre- 
 sent Tendencies. By Francis Borqess, F.S.A., Scot. 
 8vo, 2s. net. 
 
THE TEMPLE EDITION OF 
 ORGAN OVERTURES. (3 Staves). 
 
 A.rrang:ed from Full Score by Edwin Evans, Senr. (except where othei 
 wise stated). 
 
 Price 3/- net each. 
 
 ATHALIE (Mendelssohn). 
 BARBER OF BAGDAD (Peter Cor 
 
 nelius). 
 BEATRICE AND BENEDICT (Ber 
 
 lioi). 
 BENVENUTO CELLINI (Berlioi). 
 BOHEMIAN GIRL (Balfe). 
 CALM SEA AND PROSPEROUS 
 
 VOYAGE (Mendelssohn). 
 CARNAVAL ROMAIN (Berlioi). 
 CORSAIR (Berlioz). 
 CROWN DIAMONDS (Auber). 
 EGMONT (Beethoven). 
 EURYANTHE (Weber). 
 FAUST (Gounod). 
 FAUST (Wagner). 
 FESTIVAL OVERTURE (Tsohaikon 
 
 sky). 
 FIGARO (Moiart). 
 FINALE (Rubinstein's Sonata, Op 
 
 12). 
 FLYING DUTCHMAN (Wagner). 
 FRA DIAVOLO (Auber). 
 FREISCHUTZ (Weber). A. Wh-t 
 
 tingham. 
 ISABELLA (Supp«). 
 ITALIANA (BoBsini). 
 KING LEAR (Berlioi). 
 KING STEPHEN (Beethoven). F. J 
 
 Mansfield 
 LA CLEMENZA Dl TITO (Mozart) 
 
 P. J. Mansfield. 
 L'AFRICAINE (Meyerbeer). 
 LA REINE DE SABA (Gounod) 
 LARGO from Beethoven's Sonata in 
 
 E flat. W. A. C. Cruikshank. 
 LE SONGE D'UNE NUIT D'ETE 
 
 (Thomas). 
 
 LIFE FOR THE CZAR (Glinka). 
 LIGHT CAVALRY (Supp«). 
 LOHENGRIN (Wagner). 
 LURLINE (Wallace). 
 MAGIC FLUTE (Moiart). 
 MARITANA (Wallace). 
 MASANIELLO (Auber). 
 MEISTERSINGERS (Wagner). 
 MERRY WIVES OF WINDSOR 
 
 (Nioolai). 
 MIDSUMMER NIGHT'S DREAM 
 
 (Mendelssohn). 
 MIGNON (A. Thomas). 
 NAIADES, THE (Sterndale Bennett) 
 OBERON (Weber). A. Whittingham 
 OTHO (Handel). W. A. C. Craik 
 
 shank. 
 1112 OVERTURE (Tsohaikowsky). 
 POET AND PEASANT (Snpp«). 
 PARSIFAL (Wagner). 
 RAYMOND (Thomas). 
 RIENZI (Wagner). 
 ROSAMUNDE (Schubert). 
 RUY BLAS (Mendelssohn). 
 SCIPIO (Handel). 
 SEMIRAMIDE (Rossini). 
 SI J'ETAIS ROI (Adam). 
 SI RENE, LA (Auber). 
 SON AND STRANGER (Mendeli 
 
 sohn). W. A. C. Cruikshank. 
 STRADELLA (Flotow). 
 TANCREDI (Rossini). 
 TANNHAUSER (Wagner). 
 TRISTAN AND ISOLDA (Wagner). 
 WAVERLEY (Berlioi). 
 WILLIAM TELL (Rossini). A. Whit 
 
 tingham. 
 ZAMPA (H«rold). 
 
 PIANO SOLO OVERTURES, 
 
 Price 2/- net each. 
 
 BOHEMIAN GIRL (Balfe). 
 •CALIPH OF BAGDAD (Boieldieu 
 
 GROWN DIAMONDS (Auber). 
 
 PER FREYSCHUTZ (Weber). 
 
 DON GIOVANNI (Moiart). 
 
 DONNA DEL LAGO (Rossini). 
 
 FRA DIAVOLO (Auber). 
 
 GUY MANNERING (Sir H. B. 
 Bishop). 
 
 IDOMENEO (Moiart). 
 
 IL BARBIERE (Rossini). 
 •IL TANCREDI (Rossini). 
 
 LIGHT CAVALRY (Supp«). 
 
 * Also ananged as Duet 
 
 MAGIC FLUTE (Zeuberfldte), 
 ). (Mozart). 
 
 MARITANA (Wallace). 
 
 MASANIELLO (Auber). 
 •MERRY WIVES OF WINDSOR 
 (Nicolai). 
 
 MIGNON OVERTURE (A. Thomas! 
 
 NOZZE DE FIGARO (Moiart). 
 •POET AND PEASANT (SuppO. 
 
 RAYMOND (Thomas). 
 
 SEMIRAMIDE (Rossini). 
 
 WILLIAM TELL (Rossini). 
 •ZAMPA (Harold). 
 
 fpiano, 4 hands), price 2/6 net. 
 
PIANOFORTE. 
 
 THE PIANO WORKS OF BRAHMS. By Edwin Evans, 
 Senior. Historical, Descriptive and Analytical Account 
 of each Work treated in the Order of the Opus number, 
 and preceded by a Didactic Section. 8vo, cloth, 
 30s. net. 
 The above volume is a complete teohnical account of the piano worka. 
 
 It forms a part of the Historical, Descriptive and Analytical Acoonnt of 
 
 the Entire Works of Brahms advertised on page 2. 
 
 HOW TO PLAY BACH'S 48 PRELUDES AND FUGUES. A 
 
 Guide Book for the use of Piano Students as an aid 
 to the Unravelling and Interpretation of these Master- 
 pieces, ensuring a more Intelligent Keyboard Render- 
 ing. By C. W.- Wilkinson. Crown 8vo, cloth, 10s. net. 
 
 NATURAL TECHNICS IN PIANO MASTERY. A Complete 
 and Authoritative Manual, covering every phase of 
 Piano Playing and Study. Many Diagrams of Hand 
 and Finger Technique and some Music Examples. By 
 Jacob Eisenberg. Crown 8vo, cloth, 12s. 6d. net. 
 
 PARTHENIA, or the First Musick ever printed for the Vir- 
 ginals. 21 Compositions by three Famous 16th and 17th 
 century Masters, William Byrd, Dr. John Bull and 
 Orlando Gibbons. Arranged for the Piano and freed 
 from the errors of Dr. Rimbault's edition by accurate 
 comparison with the original text by Margaret H. 
 Gltn. Folio, 12s. 6d. net. 
 
 This edition of "' Parthenia " has been entirely re-engraved. 
 
 THE APPROACH TO LISZT. A Course of Modern Tonal- 
 Technique for the Piano, in the form of Graded Studies 
 from the Moderately Difficult to the Master Stage. By 
 Herbert Wbsterbt, Mus.Bac. Land., F.B.C.O., etc. 
 Folio, 5s. 6d. net. 
 
 Preliminary Studies in Touch and Phrasing in all 
 Keys. . Based on the Scales and Broken Chords. 
 
 Intermediate Studies in Sequential, Wrist and Pre- 
 paratory Arpeggio Work in the Black and White Key 
 Positions. 
 
 Advanced Sequential Studies on the Black Keys, with 
 Sixteen Excerpts from Liszt's Piano Works. The Mas- 
 ter Works : Fifty-eight Excerpts from Liszt. 
 
 THE ART OF TUNING THE PIANOFORTE. A New 
 
 Comprehensive Treatise to enable the Musician to Tune 
 his Piano upon the System founded on the Theory 
 of Equal Temperament. By Hermann Smith. New 
 Edition, thoroughly Revised. Crown 8vo, limp cloth, 
 6s. net. 
 
PIANOFORTE. 27 
 
 ESSENTIALS IN PIANO-PLAYING, and other Musical 
 Studies. By J. Alfred Johnstone, Hon. L.Mus., 
 T.C.L. Portrait, 243 pages. Crown 8vo, cloth, 10s. net. 
 
 EXTEMPORISING AT THE PIANO MADE EASY. A Manual 
 for Beginners in Musical Composition. Hints and Aids 
 for the " From Brain to Keyboard " Composer. Bv 
 Rev. E. H. Mblling, F.B.G.Q. 8vo, limp cloth, 3s. 6d. 
 net (paper 2s. net). 
 
 INDIVIDUALITY IN PIANO TOUCH. By Algernon H. 
 LiNDO and J. Alfred Johnstone. Crown 8vo, 2s. 6d. net. 
 
 THE ARTIST AT THE PIANO. Essays on the Art of Musi- 
 cal Interpretation. By George woodhousb. New and 
 Revised Edition. Portrait of Paderewski. 8vo, cloth, 
 Ss. 6d. net. 
 The celebrated pianist, Paderewski, after reading the manuscript of 
 thii stimalating Tolame, wrote : '* The booklet is quite a remarkable work 
 and m, really valuable' contribution to the philosophy of pianistic art." 
 
 THE STUDENT'S GUIDE TO THE ART OF TEACHING 
 THE PIANOFORTE. By Cyril R. H. Horuocks, 
 L.E.A.M., L.T.C.L., A.R.C.M. With an Extensive and 
 Carefully Graded List of Studies and Course of the 
 Great Masters. Numerous Musical Examples. Second 
 edition. Revised. Crown 8vo, cloth, 10s. net. 
 Until quite recently it was thought impossible to give practical instruc- 
 tions on the art of teaching, but the error of this idea has been proved 
 by the great success of the teachers' class at the various musical insti- 
 tutions. The author's aim is to supply a guide-book expressly for begin- 
 ners and those with, limited ejperienoe in the art. 
 
 PIANOFORTE TEACHER'S GUIDE. By L. Plaidt. Trans- 
 lated by Fanny Raymond Rittbr. Crown 8vo, boards, 
 3s. net (paper, 2s. net). 
 " Some of the finest pianists of the dav owe much of their technical 
 
 facility to Plaidy's excellent method." — Bazaar. 
 
 CANDIDATE'S SCALE AND ARPEGGIO TESTS for the 
 
 Piano. In the Primary, Elementary and Junior Grades 
 of all Local Examinations in Music, and the Higher 
 and Lower Divisions of the Associated Board of the 
 R.A.M. and R.C.M. By Wn,S0N Manhire. Is. net. 
 
 TECHNICAL STUDY IN THE ART OF PIANOFORTE 
 PLAYING (Deppe's Principles). By C. A. Eheen- 
 fechtbb. With numerous Illustrations. Fourth Edi- 
 tion. Crown 8vo, cloth, 6s. net. 
 OONTBNTS : Foaition — Arm — Wrist — Fingers ; Touch (Tone Production) ; 
 Legato ; Equality of Tone ; Tension and. Oontraction ; Five Finger Exer- 
 cises; Skips; The Scale; Arpeggio Chords; Firm Chords; High Raising cf 
 the Arm; Melody and its Accompaniment; Connection of Firm Chords; 
 The Tremolo : The Shake (Trill); The Pedal; Fingering. 
 
28 PIANOFOBTE. 
 
 HOW TO ACCOMPANY AT THE PIANO. By Edwin Evans. 
 (Plain Accompaniment, Figurated Accompaniment, 
 Practical Harmony for Accompanists). 172 Music Ex- 
 amples which are made Clear hy the Explanatory Text. 
 Crown 8vo, cloth, 10s. net. 
 
 GRADUATED SCALE AND ARPEGGIO MANUAL. Com- 
 piled for the various Exams. By Henry Saint- 
 George. 3s. net. 
 
 A SYSTEM OF STUDY OF SCALES AND CHORDS. Being 
 
 Chapters on the Elements of Pianoforte Technique. By 
 
 B. Vine Wbstbrook, F.E.C.O. Numerous Examples. 
 
 Nqw and Revised edition. 8vo, 3s. net. 
 
 The author outlines a scheme which abolishes the drudgery and inspires 
 
 the pupil with an enthusiasm for practice and formulates a method or 
 
 system in which that practice may be carried out. 
 
 PIANO CLASSES IN ELEMENTARY SCHOOLS. By 
 
 Audrey King. With Music Examples. Crown 8vo, Is. 
 net. 
 
 HOW TO PLAY 110 FAVOURITE PIANO SOLOS. Being 
 the 4 Series complete in 1 vol. of "Well-Known Piano 
 Solos : How to Play them with Understanding, Ex- 
 pression and Effect." By Oharms W. Wilkinson. 
 Crown 8vo, cloth, 12s. 6d. net. 
 
 WELL-KNOWN PIANO SOLOS. How to Play them with 
 
 Understanding, Expression and Effect. By C. W. 
 
 Wilkinson. Four Series, 2s. each (each series containing 
 
 about 26 articles), or four in one vol. as above. 
 
 Contents of the First Series: — Sindino, Bustle of Spring. Scaelaiti, 
 
 Pastorale le Capriccio. Padebewski, Minuet in Q. Handel, Harmonious 
 
 Blacksmith. EoBiNSTimi, Melody in P. Schabwenka, Polish Dance. 
 
 BCHnUANN, Nachtstiicke. Oosabd, Maiurka. Delibes, Pizzicati from 
 
 Sylvia. Gbieo, Wedding Day at Troldhangen. Eigae, Salut d'Amour. 
 
 Padeeewski, Melodic. B4?r, La Fileuse. ToHAisovsKr, Troika. Oosabd, 
 
 Berger et Bergftres. Chaminadb, Pierrette. Moszkowski, Etincelles 
 
 Padeeewski, Minuet in A major. Gbieo, Norweq:ian Bridal Procession. 
 
 Liszt, Regata Yeneziana, Chauinade, Automnc. Moszkowski, Serenata. 
 
 Lack, Yalse Arabesque. Schuuakk, Arabeske. Chopin, Etude in G flat. 
 
 DnRAHD. First Valse. 
 
 Draws one's attention to the beauties in a piece, explains diflftculties 
 here and there, draws Attention to a pedal effect and any peculiarity of 
 Angering, and generally gives all the information a professor is expected 
 to give to his pupils. 
 
 DELIVERY IN THE ART OF PIANOFORTE PLAYING, On 
 
 Rhythm, Measure. Phrasing, Tempo. By C. A. Ehpen- 
 FECHTER. Second Edition. Crown 8vo, cloth, 6s. net. 
 " The section with reference to accent is particularly good. There are 
 numerous illustrations from the works of the masters."— W. H Webbe in 
 The Pianist's A. B. C. 
 
 PIANO TOUCH. PHRASING AND INTERPRETATION. By 
 
 J. Alfred Johnstone. Crown 8vo, cloth, 7s. 6d. net. 
 
PIANOFOBTE. 29 
 
 PRACTICE REGISTER for Pupil's Daily Practice. A 
 Specimen, Id. (or 2s. 6d. per 100). 
 
 REEVES' VAMPING TUTOR. Art of Extemporaneous Ac- 
 companiment, or Playing by Ear on the Pianoforte, 
 Rapidly Enabling anyone naving an Ear for Music (with 
 or witliout any Knowledge of Musical Notation) to Ac- 
 company with Equal Facility in any Key. Prac- 
 tical Examples. By Francis Taylor. New Edition, 
 to which is added Instructions for Accompaniment 
 with Equal Facility in every Key illustrated by Ex- 
 amples. Folio, 2s. net. 
 
 THE DEPPE FINGER EXERCISES for Rapidly Developing 
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 ranged, Classified and Explained by Amy Fay (Pupil 
 of Tausig, KuUak, Liszt and Deppe). Folio, English 
 or Continental Fingering, 2s. net. 
 
 INTRODUCTION TO RUSSIAN PIANO MUSIC. By Her- 
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 Is. net. 
 
 REEVES' POPULAR PIANOFORTE TUTOR. Rudiments 
 of Music, Exercises with Popular Airs, Major and 
 Minor Scales. With Illustration of Fingerboard. Folio, 
 2s. 6d. net. 
 
TECHNICAL AND THEORETICAL. 
 
 ESSENTIALS IN MUSIC STUDY FOR EXAMINATIONS. 
 
 A Helpful Guide both for the General Student and Can- 
 didates for Junior and Intermediate Examinations. By 
 Rev. E. H. Melling, F.R.C.O. Cloth, 5s. net (paper 
 covers, 2s. 6d. net). 
 Rev. E. H. McUing is the author of seTeral popular works which have 
 been found of great uae to musio students — " Guide for the Young Oom- 
 poeer." " Extemporising at the Piano made Easy," etc. 
 
 GUIDE FOR THE YOUNG COMPOSER. Hints on the Art 
 of Composition, with Examples of Easy Application. By 
 Rev. E. H. Melling, F.R.C.O. Cloth, 5s. net (paper 
 covers, 2s. 6d. net). 
 
 EXAMINATION TEST QUESTIONS. Containing spaces 
 for the Pupils' Written Answers. By Walter L. Twin- 
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 Formation of Scales; No. 3, Ornaments; No. 4, Intervals, 
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 THEORY OF MUSIC FOR YOUNG MUSICIANS. With 
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 102 TEST QUESTIONS ON THE GENERAL RUDIMENTS OF 
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 PRIMARY COURSE IN THE RUDIMENTS OF MUSIC, With 
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 EXAMINATION CANDIDATE'S GUIDE to Scale and Ar- 
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 CANDIDATE'S SCALE AND ARPEGGIO TESTS for the 
 
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 STUDIES IN MODULATION for Practical and Theoretical 
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 MUSICAL FORM, A Handbook to, for Instrumental Players 
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 The part of the work on Dance Forms gives a history and description 
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 Tambourin, Cebell, Rondo, Menuet, Polonaise, Mazurka, Bolero Taran- 
 tella, Saltarello, March, Ciaocone and Passacaglia. ' 
 
TECHNICAL AND THEOBETWAL. 31 
 
 STUDIES IN HISTOKICAL FACTS AND MUSICAL FORM. 
 
 Being a Guide and Note Book for a more Systematic 
 Preparation of the General Knowledge Papers now set 
 at the Universities and Colleges of Music. By Percy 
 Baker. Cloth, 5s. 6d. net (paper, 3s. net). 
 
 MOZART AND THE SONATA FORM. By J. R. Tobin, 
 Mus.B. See Pianoforte Section. 
 
 FUGUE. A Conversational Address delivered to the Incor- 
 porated Guild of Church Musicians. By J. H. Lewis, 
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 cloth, 2s. net. 
 
 MUSICAL EXPRESSIONS, PHRASES AND SENTENCES, 
 
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 (paper, 3s. net). 
 
 RUDIMENTS OF MUSIC, Set forth in Graded Questions 
 with Answers, for Use of Candidates preparing for the 
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 ponding left hand pages. 
 
 ELEMENTARY LESSONS ON SIGHT-SINGING. Combin- 
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 Examples throughout. By J. W. Eossington, L.R'.A.M. 
 Cloth, 3s. 6d. net ; paper, 2s. net. 
 For man; singfers there is only one method of becoming' good sight- 
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 hoped that a perusal of these elementary lessons will show the principles 
 on which this combination is effected, and simplify the somewhat difficult 
 task of sight-reading. 
 
 STEPS IN HARMONY. With Copious Explanatory Exam- 
 ples and Graded Test Exercises. A Handbook for 
 Students. By Dr. Churchill Sibley. With Music 
 Examples throughout. Crown 8vo, boards, cloth back, 
 6s. net (paper, 3s. 6d. net). 
 It is believed that he who thoroughly masters the contents of these 
 
 pages will be prepared to study intelligently the harmonio structure of 
 
 the works of the great masters, and also to follow critically the changeful 
 
 tendencies of the present day. 
 
 fiOO QUESTIONS AND 600 EXERCISES IN ELEMENTARY 
 MUSICAL THEORY. By W. H. Palmer. Crown Svo, 
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 Intended as a help to the private student and to the candidate prepar- 
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 THE MODAL ACCOMPANIMENT OF PLAIN CHANT. A 
 
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 Part I, Theoretical ; Part II, Practical School of Plain 
 Chant Accompaniment, consisting of 240 Exercises, with 
 an Appendix of Notes. Crown Svo, cloth, 8s. 6d. net. 
 
32 TECHNICAL AND TEEOBETIGAL. 
 
 THE HARMONISING OF MELODIES. A Text-Book for 
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 MUSICAL ANALYSIS. A Handbook for Students. By 
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 THE ART OF MODULATING. A Series of Papers on Modu- 
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 With 62 Musical Examples. Crown 8vo, cloth, 6s. net 
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 MODERN CHORDS EXPLAINED. (The Tonal Scale in 
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 EXERCISES IN VOCAL SCORE READING. Collected from 
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 EXERCISES IN FIGURED BASS AND MELODY HARMON- 
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 EXAMPLES OF FOUR-PART WRITING FROM FIGURED 
 
 BASSES AND GIVEN MELODIES. By James Lyon, 
 
 Mus.Doc. 4to, 5s. 6d. net. 
 
 These exercises are printed in open score so as to be of use in ecore 
 
 reading tests. This Tolume forms a Icey to " Exeroises in Figured Bass *' 
 
 by the same author (see above). 
 
 HOW TO COMPOSE. A Practical Guide to the Composi- 
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 include the Valse, Gavotte, Mazurka, Polonaise, 
 March, Minuet, and all Ordinary Dance Forms ; as also 
 the Nocturne, Impromptu, Berceuse, Reverie and 
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 THE RUDIMENTS OF GREGORIAN MUSIC. By Francis 
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 MUSICAL PRONOUNCING DICTIONARY. By Dr. Dud- 
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 vised by A. Whittingham. Crown 8vo, cloth, 3s. net 
 (paper. Is. 6d. net). 
 A most valuable and useful little book to all musical people. The 
 
 method adopted for giving the pronunciation of each term is most con- 
 
 ofse and clear. 
 
TECHNIOAL AND THEOBETICAL. 33 
 
 A FIRST BOOK OF MUSIC FOR BEGINNERS, Embodying 
 Bnglish and Continental Teaching. By Alfred Whit- 
 TiNGHAM. Sixth Thousand. Crown 8vo, sewed, 4d. net. 
 
 HARMONY, EASILY AND PROGRESSIVELY ARRANGED. 
 
 Presenting in a Simple Manner the Elementary Ideas as 
 well as the Introduction to the Study of Harmony. 
 With about 300 Musical Examples and Exercises. By 
 Paul Colberg. Crown 8vo, cloth, 7s. 6d. net. 
 
 AnousT WiLHELUj says : " This work is distinguished by brevity and 
 clearness. 1 most warmly recommend it." 
 
 COMPEND OF MUSICAL KNOWLEDGE. By Pbkcy 
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 Notes, Hints and Articles on the Study of Examination 
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 Primarily to help candidates entering for the R.C.O. and T.C.L. 
 Diplomas, though containing much information For the amateur musi- 
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 / 
 
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VIOLIN AND STBINGED INSTBUMENTS. 37 
 
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38 VIOLIN AND STBINGED INSTBUMENTS. 
 
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VIOLIN AND STBINOED INSTRUMENTS. 39 
 
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42 VOGAL. 
 
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