Lento (Second Movement from Organ Sonata No. 6 in G Major, BWV 530) – J.S. Bach, arr. Bartók
Johann Sebastian Bach’s Organ Sonata No. 6 in G Major, BWV 530 is one of a set of six trio sonatas composed between 1727 and 1730, likely intended as pedagogical works for his eldest son, Wilhelm Friedemann. These sonatas, structured similarly to Baroque trio sonatas, demand both technical precision and musical finesse from the performer.
The second movement, Lento, stands in contrast to the virtuosic outer movements, featuring a lyrical, expressive melody supported by flowing contrapuntal lines. It reflects Bach’s deep understanding of vocal-inspired phrasing and harmonic richness, creating a meditative and introspective atmosphere.
Béla Bartók, known for his innovative reinterpretations of classical works, arranged this movement with his distinct harmonic and textural sensibilities. His adaptation preserves the integrity of Bach’s counterpoint while infusing it with subtle modernist touches, offering a fresh perspective on this Baroque masterpiece.
Symphonic Etudes, Op. 13 – Robert Schumann
Robert Schumann’s Symphonic Etudes, Op. 13 is one of the most ambitious and virtuosic works in the solo piano repertoire. Originally conceived between 1834 and 1837, the work is structured as a theme and variations based on a melody provided by Baron von Fricken, the father of Schumann’s then-fiancée, Ernestine von Fricken.
Unlike traditional variation sets, Symphonic Etudes blends pianistic brilliance with orchestral grandeur, reflecting Schumann’s fascination with symphonic textures within the medium of the piano. The published version consists of 12 etudes that transform the theme through dramatic contrasts, from stormy intensity to lyrical introspection. In addition to these, Schumann composed several additional variations, some of which were published posthumously by Brahms in later editions.
The work stands as a testament to Schumann’s ability to merge technical prowess with deep musical expression, showcasing a kaleidoscope of colors, harmonies, and emotions. The Symphonic Etudes remains a cornerstone of the Romantic piano repertoire, demanding both virtuosity and poetic sensitivity from the performer.
Romanze in F Major, Op. 118, No. 5 – Johannes Brahms
Composed in 1893 as part of Six Pieces for Piano, Op. 118, Brahms’ Romanze in F Major reflects the introspective and lyrical qualities of his late piano works. This collection is among his final compositions for solo piano, showcasing a deep sense of warmth, nostalgia, and emotional depth.
The Romanze is a beautifully serene piece, marked by its flowing melody and rich harmonic textures. The outer sections exude a gentle, pastoral character, while the middle section introduces a more passionate and expressive contrast. Throughout the work, Brahms’ signature use of inner voices and subtle harmonic shifts adds depth to its seemingly simple structure.
With its tender lyricism and quiet intimacy, the Romanze serves as a moment of repose within Op. 118, embodying the profound yet understated beauty of Brahms’ late style. It remains a favorite among pianists and audiences alike for its delicate expressiveness and refined emotional nuance.
Scherzo in E-flat Minor, Op. 4 – Johannes Brahms
Johannes Brahms composed his Scherzo in E-flat Minor, Op. 4 in 1851 at the age of 18, making it one of his earliest surviving solo piano works. Even in this youthful composition, Brahms demonstrates a remarkable command of form, harmony, and pianistic virtuosity, foreshadowing the dramatic intensity that would characterize much of his later music.
The piece follows the traditional scherzo-trio-scherzo form but is infused with a stormy, almost orchestral character. The outer sections are marked by relentless energy, powerful rhythmic drive, and bold harmonic shifts, reminiscent of Beethoven’s influence. At the same time, the virtuosic passagework and dark, restless mood bear the imprint of Chopin and Liszt. The contrasting trio section provides a lyrical and expressive contrast, offering a brief moment of warmth before the turbulent main theme returns.
Despite being an early work, the Scherzo stands as a compelling and mature composition, frequently performed for its combination of technical brilliance and emotional depth. It remains one of Brahms’ most striking solo piano pieces from his formative years, hinting at the grandeur and complexity of his later works.
Preludes – Sergei Rachmaninoff
Sergei Rachmaninoff’s Preludes, Op. 23 and Op. 32, stand among the most celebrated works in the piano repertoire, exemplifying the composer’s signature blend of lyricism, harmonic richness, and technical brilliance. Composed between 1901 and 1910, these pieces showcase a vast emotional and textural range, from intimate introspection to grand virtuosity. Each prelude is a miniature tone poem, exploring distinct moods and characters while maintaining a cohesive musical language.
Op. 23 Preludes
No. 4 in D Major – One of Rachmaninoff’s most lyrical and flowing preludes, this piece features a song-like melody over a shimmering accompaniment. Its warm and tender character is reminiscent of his Songs Without Words.
No. 7 in C Minor – A dramatic and turbulent prelude driven by relentless rhythmic energy. The middle section provides a momentary sense of relief before returning to its stormy intensity.
No. 9 in E-flat Minor – Bold and powerful, this prelude is characterized by dark harmonies and an almost orchestral depth. The intensity builds steadily to a commanding conclusion.
No. 10 in G-flat Major – Dreamy and impressionistic, this prelude unfolds with delicate harmonic shifts and a sense of nostalgic serenity, evoking a tranquil yet wistful atmosphere.
Op. 32 Preludes
No. 3 in E Major – Light and flowing, this prelude possesses a luminous, almost ethereal quality, with a gentle interplay between melody and accompaniment.
No. 5 in G Major – Playful and dance-like, this prelude is characterized by its intricate rhythmic patterns and lively energy, making it a striking contrast to its darker counterparts.
No. 6 in F Minor – Deeply melancholic, this prelude features brooding harmonies and an underlying sense of restlessness, building toward an impassioned climax.
No. 8 in A Minor – One of the most intense and dramatic of the set, this prelude is driven by stormy, sweeping arpeggios and powerful dynamic contrasts, demanding both technical prowess and emotional depth.
Rachmaninoff’s Preludes offer a glimpse into the composer’s vast expressive palette, seamlessly blending Russian Romanticism with dazzling pianistic virtuosity. Each piece stands as an independent work, yet together, they form a profound exploration of mood, color, and emotion, making them a cornerstone of the solo piano repertoire.
Variations on a Theme of Corelli, Op. 42 – Sergei Rachmaninoff
Composed in 1931, Rachmaninoff Variations is a masterful set of 20 variations based on the well-known La Folia theme, used famously by Arcangelo Corelli. This work showcases his late compositional style, marked by harmonic richness, virtuosic demands, and expressive depth.
The variations explore a wide emotional and technical range, from delicate lyricism to thundering intensity. Rachmaninoff weaves his signature lush harmonies and bold rhythmic shifts into the theme, offering dramatic contrasts and intricate counterpoint. A haunting Intermezzo leads into a final set of variations, culminating in a reflective and enigmatic coda.
Despite its brilliance, the piece received mixed reactions during Rachmaninoff’s tours, with the composer humorously noting that audiences would “applaud less and less” as the variations progressed—until he omitted some, restoring their enthusiasm.
Scherzo from “A Midsummer Night’s Dream” – Felix Mendelssohn, arr. Sergei Rachmaninoff
Sergei Rachmaninoff’s arrangement of the Scherzo from Mendelssohn’s A Midsummer Night’s Dream is a brilliant transcription for solo piano that captures the whimsical and enchanted character of the original orchestral work. Mendelssohn’s Scherzo is one of the most beloved sections of his incidental music to Shakespeare’s play, and in Rachmaninoff’s hands, it is transformed into a virtuosic piano piece that retains the charm and lightness of the orchestral original.
The piece opens with the delicate, fluttering motif that evokes the magical, fairy-filled world of the play, and Rachmaninoff’s transcription enhances this with intricate, sparkling piano figurations. The playful theme is passed through various registers and voices, with Rachmaninoff utilizing a wide range of pianistic textures and techniques, from rapid, shimmering arpeggios to sweeping melodic lines. The energy is relentless, yet the delicate interplay between the upper and lower voices creates an almost ethereal atmosphere, evoking the mischievousness of the fairies in the play.
Rachmaninoff’s arrangement also amplifies the dramatic contrasts found in Mendelssohn’s orchestration, infusing the piece with greater intensity while maintaining its light-hearted, dreamlike qualities. The rhythmic drive and bright harmonic color give the music an expansive, almost cinematic quality, heightening its emotional impact. The work concludes with a brilliant and exhilarating coda, offering a thrilling and technically demanding finish.
In this arrangement, Rachmaninoff not only demonstrates his exceptional pianistic ability but also his deep understanding and respect for Mendelssohn’s original, transforming the orchestral work into an equally captivating piano solo that is both a celebration of Mendelssohn’s creativity and a showcase of Rachmaninoff’s mastery in piano transcription.
*Program notes produced with the help of AI
