Chapters 35 & 42 Chopin & Brahms

CHAPTER 35
Fire and Fury at the
Keyboard: Chopin and
Romantic Piano Music
Copyright © 2020 W. W. Norton & Co., Inc.

Copyright © 2020, W. W. Norton & Company, Inc.
Piano: Home use,
favorite instrument of
virtuosos
Steinway

Pianos had greatly improved.
Better sound, loud enough to fill public concert halls
Better mechanical systems, responsive to virtuoso playing
The Public loved virtuoso performers.
Private concerts for selected guests were performed in salons.

Cast-iron frame
allowed for greater
string tension
Hammers covered
with felt
Range extended
Damper pedal added
The Piano

Pianos became popular in the home; composers wrote
and publishers produced music for the non-virtuoso
player.
Especially among the middle class and the wealthy,
learning to play piano was considered part of a good
education.
This demand for all-level works was lucrative for
composers and publishers.

• Masters of the short lyric piano piece include the
following composers:
Schubert, Chopin, Liszt, Felix Mendelssohn,
Fanny Mendelssohn Hensel, Robert and
Clara Schumann, and Brahms
• Explored technical resources and capacity for
expression of the piano
The Short Lyric Piano Piece

Salon (Intimate) Piano Music: Miniatures (2-5 mins.)
• Ballades
• Capriccios
• Consolations
• Etudes (studies)
• Fantasies
• Impromptus
• Mazurkas
• Nocturnes
• Polonaises
• Preludes
• Rhapsodies
• Scherzos
• Songs Without
Words
• Waltzes

The Nineteenth-Century Piano, Part 1
I. The Nineteenth-Century Piano
A. Piano: most central to Western musical tradition
1. most expressive, technologically versatile instrument
available
a. wide variety of dynamic and resonant effects
b. polyphonic and homophonic textures
2. attractive to amateurs and professionals: home and
concert hall
3. staple of refined education

B. Rise of the virtuoso pianist
1. developing concert industry
2. performer not always the composer
C. Technical improvements: led to modern concert grand
1. standardized instrument developed with metal frame,
increased string tension
2. improved mechanical action, extended range of notes
3. factory production: reduced cost
4. fixture in middle- and upper-class homes

The Short Lyric Piano Piece, Part 1
II. The Short Lyric Piano Piece (Character Piece)
A. Compact form: instrumental equivalent to song
1. inexhaustible ingenuity, expression, technical resources
2. fanciful titles: “Prelude,” “Intermezzo,” “Impromptu,”
“Nocturne”
3. dance-inspired: Polish mazurka, polonaise; Viennese waltz,
scherzo
4. descriptive titles: “Wild Hunt,” “The Little Bell,” “Forest
Murmurs”
5. étude: virtuosic study piece
6. composers: Schubert, Chopin, Liszt, Felix Mendelssohn,
Fanny Mendelssohn Hensel, Robert and Clara Schumann,
Brahms

Clara and Robert Schumann

Robert Schumann (1810-1856)
Born in Zwickau, Germany; went to study law at Leipzig University, but skipped
class!!
Studied piano with Friedrich Wieck; married his daughter, Clara: a concert pianist.
Contracted syphilis, which ruined his hands and ended his concert piano career.
Founded The New Journal for Music: served as editor and music critic- set up with
partners in 1834.
One of first to praise Berlioz’ Symphonie fantastique and to recognize both Chopin
and Brahms as compositional geniuses
Developed depression and hallucinations (from syphilis?); died in asylum at age 46.

Robert Schumann
Through writing & criticism, championed Chopin, Schubert, Brahms
Wrote with pseudonyms
Wrote virtually all piano works before age of 30 in 1840
4 symphonies with experimental aspects-large brass section, high level of
chromaticism; cyclic devices; sonata-allegro form with no development

Schizophrenic,
“gloriously mad”
Attempted suicide by
jumping into Rhine in
1854, rescued
Robert Schumann(1810-1856)

Robert Schumann “Dedication” & “Traumerai”
“Widmung” = “Dedication”
Written in 1840, the year he married Clara Wieck (they
eloped)
A love poem set to music
An example of a German lied
Dedication
“Traumerai” = “Dreaming”
Traumerai

Robert Schumann
Carnaval-Opus 9 Piano Solo
“Little Scenes on Four Notes”
Collections of personalities
Written during Carnaval season of 1835(Mardi Gras)
Chiarina-for Clara Weick
Chopin- “nocturne”
Estrella-fiancee Ernestine von Fricken
Reconaissance-reunion
Certain movements named for clowns of Commedia del arte(Italian theater)
Papillons-butterflies
• Papillons

Clara Wieck Schumann (1819 - 1896)
Studied piano at age 5
Gave first full piano recital at age 9
Toured Europe as child prodigy
Published music as teenager, rare
Her father, Friedrich Wieck, opposed her marrying a musician, but she eloped
and married Robert Schumann anyway at age 21
8 children, one dying in infancy.
She was one of the great piano virtuosos of her generation.

Clara Wieck Schumann (1819-1896)
Premiered Robert’s works and those of Brahms(came to live with Schumanns
in 1853)
Continued to perform after marriage and widowhood, but few compositions
were published after that.
Had long relationship with Johannes Brahms.
Widowed in her mid-30’s, Clara pursued a highly successful career as a soloist
(piano) and teacher.
Taught at Leipzig Conservatory of Music and Hoch Conservatory in Frankfurt.

• Piano Concerto in A Minor
• Three Songs on Texts by
Rückert
• Variations on a Theme by
Robert Schumann--for piano
• Piano Trio in G Minor
• Three Romances--for piano
• "Scherzo"
Clara Wieck Schumann

The Short Lyric Piano Piece (Character Piece), Part 3
B. Frédéric François Chopin (1810–1849)
1. born outside Warsaw, Poland; composer, pianist
2. moved to Paris at age twenty-one, artistic center in
1830s
3. tumultuous affair with novelist Aurore Dupin, Baroness
Dudevant (George Sand)
4. works central to pianist’s repertory
a. originated modern piano style
b. rubato (“robbed time”): rhythmic liberties
c. expressive depths, “poet” of the piano

Born near Warsaw, Poland; gave first piano
recital at age 8; studied piano at Warsaw
Conservatory.
Father was French and mother was Polish--never
felt at home in either place.
Russia annexed most of Poland, which awakened
his nationalism--as manifested in his polonaises
and mazurkas.
Made a living in Paris from teaching and sales of
his music for piano.
Had a long relationship with Amandine Lucile
Aurore Dudevant (George Sand).
Died of tuberculosis, age 39.
Most of his works are for piano.
Frédéric Chopin (1809 - 1848)

Wrote exclusively for piano, “the poet of the piano”
First imaginative use of pedal & rubato(performer
deviates slightly from exact execution of rhythm)
From the film “Impromptu”
George Meets Chopin
Frederick Chopin(1810-1849)

Smaller forms: nocturnes, preludes, impromptus, waltzes,
mazurkas, études
Larger forms: ballades, polonaises, fantasies, sonatas, piano
concertos
Nocturne Op. 9 No. 2
Nocturne Op. 9 No. 2
Chopin and Piano Music

5. died of tuberculosis at age thirty-nine
6. output: concertos, ballads, sonatas, preludes, études,
mazurkas, polonaises, scherzos, waltzes, impromptus,
nocturnes, chamber music, and songs
C. Chopin’s Études
1. first set, Op. 10, composed between 1829 and 1832
2. dedicated to Franz Liszt (virtuoso pianist)
3. regarded as finest of the genre
4. concert repertory, highly difficult

D. Étude, Op. 10, No. 12 (Revolutionary), by Chopin
1. highly emotional, composer’s distress over Poland’s war
with Russia
2. left hand, dazzling figurations; right hand, impassioned
dotted-rhythm melody
3. brooding C minor tonality
E. Listening Guide 24: Chopin: Étude, Op. 10, No. 12
(Revolutionary) (1831)
1. (A–A′), with variations, and coda
2. fiery, wide-ranging figurations, large dynamic contrasts

3. introduction: dramatic chords; rushing, descending
passages
4. A section: dotted-figure theme in C minor above
constantly swirling sixteenth notes
5. A′: main theme returns, increasingly complex rhythm
6. coda: suggests resolution, forceful final chord in C major

Étude, Op. 10, No. 12 (Revolutionary) – Chopin
Étude, Op. 10, No. 12 - "Revolutionary"

Born near Sopron (in Austria-Hungary).
Studied piano in Vienna; piano concert debut in
London at age 11.
Considered greatest piano virtuoso of 19th
century.
Lived in Paris from age 16 to age 38, touring
throughout Europe.
Franz Liszt (1811-1886)

Became music director to Grand Duke of Weimar.
Story has it, he changed position of piano on stage (from back to audience to
sideways) and threw away the music!
Ever since, tradition has dictated that pianists play concert music from
memory.

Some famous works
Orchestra: Faust Symphony, Dante Symphony, Les Préludes, Piano Concertos
No. 1 and No. 2
Piano Music: Sonata in b minor, Six Consolations, Transcendental Studies,
Hungarian Rhapsodies, and many short piano pieces
Hungarian Rhapsody No. 2
La Campanella - Yundi Li

CHAPTER 42
Embracing Death: Brahms
and the Requiem
Copyright © 2020 W. W. Norton & Co., Inc.

Two Movements in Mainstream Concert Music
• Radical: led by Wagner
• Form of music subservient to
emotional expression
• Wandering tonality
• Loose, vague forms
• Reliance on extra-musical
associations
• Music dramas, operas
• Traditional: led by Brahms
• Forms and tonality still
important; should be
recognizable
• Minimal extramusical
associations
• Minimal emotionalism
• Chamber music, solo
concertos, symphonies

The Romantic Symphony
Increased orchestral size
Lyrical themes, colorful harmonies, expanded proportions
Overall structure as in eighteenth century
Movement order varies
Symphony No 1, Mvt I – Brahms (also featured in PBS Video)

Johannes Brahms (1833-1897)
Born in Hamburg, Germany, Son of shiftless double-bass player
A pianist who toured with the violinist, Remenyi, at age 20
Went to Düsseldorf to study with Robert Schumann (and met his wife, Clara,
with whom he maintained a close relationship).
Moved to Vienna--never committed to a single job.
Destroyed compositions he felt were inferior along with many personal
documents.

Johannes Brahms (1833 - 1897)
Lived his life as a veritable recluse--a very private individual.
Robert Schumann, praised him as the “savior of music.”
One of the “three B’s” of German music--Bach, Beethoven, and Brahms
Interested in the music of the past
His music synthesized ideas from past and from the current time.

“A Classicist adrift in the torrents
of Romanticism”
No opera or tone poem
4 symphonies, solo piano &
chamber music, Leider
Romantic tendencies
Johannes Brahms(1833-1897)

Romantic Choral Music, Part 1
I. Romantic Choral Music
A. Expansion of audience for music
1. choral music: artistic outlet for amateurs
2. repertoire centered on choral heritage of the past
3. also wealth of new works

Romantic Choral Music , Part 3
B. New literature
1. partsongs: unaccompanied secular works
a. lyric poems, variety of moods and styles
b. three or four voice parts
c. short, melodious works
d. easy enough for amateurs
2. large-scale choral works: Mass, the Requiem Mass,
and oratorios
a. concert setting, wider audience

C. Johannes Brahms (1833–1897)
1. German composer, conductor
2. mentored by Robert and Clara Schumann
3. moved to Vienna
4. dedicated to absolute music
5. lifelong affection for folk music
6. began composing symphonic works at age forty
7. output: four symphonies; four concertos; major
contributions to chamber, piano, and choral music;
songs

Romantic Choral Music , Part 4

Brahms’ Music: Characteristics
Imitated Beethoven’s symphonies, but not innovative like
Beethoven.
Audiences called his 1st symphony, “Beethoven’s 10th.”
Avoided extreme changes in musical expression (like those
of Liszt and Wagner).
Used and expanded classical forms.
Used recognizable tonality with some chromaticism.

Johannes Brahms Other Compositions
Symphony no.1 in C Minor
Symphony no. 2 in D Major
Symphony no. 3 in F Major
Piano Concerto no. 1 in D Minor
Piano Concerto no. 2 in B-flat Major
Violin Concerto in D major
Academic Festival Overture
Clarinet Quintet in B Minor
Wiegenlied

• Composed early in career, 1868, after Schumann’s death
• Does not involve traditional Latin text
• Personal statement of faith based on German verses, Old & New
Testament
• 7 movements; bass, soprano soloists; chorus; orchestra
• 4th movement: How Lovely is Thy Dwelling Place; chorus & orchestra
Ein Deutches Requiem

D. Brahms’s German Requiem
1. Protestant Requiem in seven movements
a. soloists, four-part chorus, orchestra
2. 1865, death of Brahms’s mother, inspired the
composition
3. biblical texts chosen by Brahms; Old and New
Testaments, book of Revelation
4. unusual approach: comforts the living
a. song of mourning for all humanity
b. omits the Dies irae

5. movements arranged in an arch; musical connections
a. first and last movements
b. second and sixth movements
c. third and fifth movements
d. fourth is centerpiece
6. work embraced across Europe

E. Listening Guide 31: Brahms: A German Requiem, IV (1868)
1. Chorus: Psalm 84, “How lovely is Thy dwelling place”
2. short orchestral introduction, A–B–A′–C–A
3. A section: SATB homophonic setting, flowing melody
4. B section: shift to minor mode, builds fugally
5. C section: faster, more polyphonic
6. soft orchestral closing

Ein Deutches Requiem
How Great is Thy Dwelling Place

Santana, “Love of My Life”
Love of My Life
Based on Brahms’ Symphony No 3, Third movement

Credits
This concludes the Lecture PowerPoint presentation for “The Enjoyment of Music, 4th Edition, Chapter 35: Fire and Fury at the
Keyboard: Chopin and Romantic Piano Music”
For more resources, please visit https://digital.wwnorton.com/enjmusic4ess

Chapters 35 & 42 Chopin & Brahms

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