Program Notes For Senior Recital

Program Notes
Prelude and Fugue in Eb minor/D# minor, WTC I, BWV 853 by J.S. Bach
Johann Sebastian Bach’s Well-Tempered Clavier is a collection of 24 preludes and fugues in two
books. When Bach composed these pieces, he aimed to exploit the new tuning system that
allowed for composers to explore all key centers without altering the keyboard’s tuning. The first
book was completed in 1722 and the second around 1744. Each prelude varies in character and
style. Some might be improvisatory, influenced by dance styles, or polyphonic. Because the
preludes are paired with fugues, both share similar characters.
The prelude has a solemn and contemplative in character. Its melody has qualities of over-
dotting found in the French overture style. The accompaniment is heard as rolled harmonies. One
can argue that at times the melody is in a recitative style, which can be identified by a lack of
texture with a single melodic line or a stasis in harmonic activity.
The fugue is much more complex than the prelude. It is comprised of three voices. A main
melody, or subject, is presented by the first voice which the entire piece is based on. The second
voice responds with its contrapuntal answer. Finally, the third voice enters where it restates the
subject. After each voice enters in the piece, a new section begins where the subject can be
transformed. Here, fragments of the melody or the entire melody can be heard in this section,
however, the theme can be inverted, have its rhythm lengthened (augmentation) or shortened
(diminution).
http://www.bachwelltemperedclavier.org/pf-ebd-minor.html
https://vanrecital.com/2012/09/program-notes-andras-schiff-performs-bach/
Piano Sonata No. 24 in F# major, Op. 78 by Ludwig van Beethoven

Ludwig van Beethoven was especially known for his 32 piano sonatas, each one a masterpiece.
Pianists today call the sonata set the “New Testament” of piano (Bach’s Well Tempered Clavier
is considered the “Old Testament”). His Sonata in F sharp major Op. 78 was written in 1809 and
is dedicated to Therese von Brunswick. What is interesting about the work how it contrasts so
much with his previous sonatas especially the “Appassionata” sonata written three years before
the F-sharp sonata.
The work is divided into two movements. In the first movement, we hear a short, lyrical adagio
introduction only heard once throughout the entire work. The exposition contains two main
melodies. The first melody, heard immediately after the introduction, is. The second melody is
light and playful theme. In the development, we can hear Beethoven sequencing fragments of
theme one and shifting between major and minor key centers. The section transitions back into
the theme one, starting the recapitulation.
Movement two greatly contrasts the first. It is in rondo form. Throughout, an effervescent
melody is modulated from
the harmonies change from major to minor
USE THE PODCAST BY ANDRAS SCHIFF
Polonaise-Fantasie in Ab major, Op. 61 by Frederic Chopin

Frederic Chopin was a monumental figure of the Romantic era. In the entirety of his
compositional output, Chopin embodied the “bel canto” vocal style, heard in the operas of
Vincenzo Bellini.
Completed and published in 1846.
This large work contains a variety of sections, each with their own characters. The piece begins
with a harmonious introduction, which is sort of an introspective and lush section. One of the
defining rhythms of the polonaise, repeated sixteenth notes similar to a fanfare, is heard shortly
at the end of the large introduction. The main theme is apparent as it is presented many times
throughout the A section, each time with different harmonies, registers, textures and energy.
Then the piece moves to the B section, which is now in the new key of B major. A new theme,
one with melancholy and reflection, is presented in the middle of the section. A small cadenza of
double trills leads to the final statement of figures heard at the beginning of the section. A
transition leads to the triumphant, final iteration of the original theme.
http://en.chopin.nifc.pl/chopin/composition/detail/id/129
Nocturne No. 4, Op. 38 by Lowell Liebermann

Born in
Liebermann composed the nocturne in 1992. It was dedicated to Andrew Wilde, who premiered
the piece on November 22 the same year of its composition. The piece begins with a simple,
haunting melody that is developed and presented in new textures throughout the piece. A second
theme is heard shortly after the first theme. Immediately, there is a very distinct harmonic
language achieved by shifting between major and minor harmonies. These unsettling chords are
used throughout the entirety of the piece, contributing to the eerie atmosphere. Talk about the
difficulties of the piece???
Other chamber music

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Program Notes

Piano Sonata No. 24 in F# major, Op. 78 by Ludwig van Beethoven

Polonaise-Fantasie in Ab major, Op. 61 by Frederic Chopin

Nocturne No. 4, Op. 38 by Lowell Liebermann

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