Dmitri Dmitrievich Shostakovich (1906 – 1975)
24 Preludes and Fugues Op. 87 No. 5 in D major
Due to Zhdanov doctrine in 1948 Shostakovich was forced to comply with the wishes of Soviet Union government, for his art of music was criticized as imperialistic formalism. He had to compose according to socialism and realism. In 1950 he was invited to the 200th year commemorating festival of J. S. Bach at Leipzig. He was truly inspired by the greatness of the art of Bach there. At the same time Tatiana Nikolayeva attained the first place. Probably her appealing performance also served as one of the great incentives to compose his Preludes and Fugues. Of course she held the premiere.
Being enriched by an awareness of Bach’s musical forms, creative and unique personality of Shostakovich is fully expressed.
When my husband (professor of politics in the same Southern Illinois University) was invited to teach at a university in India, we also travelled to Iran.
There was a woman playing the balalaika under a tree. Her sound echoed with arpeggio chord of this Preludes D major. Playing the works naturally reminds us of various events in our lifetime when we have got elder. – Slenczynska
Johann Sebastian Bach (1685 – 1750)
The Well-Tempered Clavier, Book 1
Prelude and Fugue No. 5 in D major BWV850
Das Wohltemperierte Klavier (German): 1st volume published in 1722, 2nd volume in 1742, a book of preludes and fugues in all 24 major and minor keys. The Well-Tempered Clavier is called as Old Testament, and Beethoven’s Piano Sonatas as New Testament for pianists, so both are of paramount importance.
Book 1 was originally written for the sake of training his own son. Because advanced types of counterpoints are excellently used, it has been one of the Bach’s masterpieces. Having been inspired by these Bach’s works, Preludes by Chopin, Rachmaninov and Shostakovich were composed.
Johannes Brahms (1833 – 1897)
3 Intermezzi Op.117
Brahms himself was a virtuoso, but piano works by Brahms are surprisingly not so much. He composed these three Piano Sonatas when he was around 20 years old. The next 10-year period there are Variations by piano and about ten arranged works. When he was 59 years old, 20 plus years later since then, he again composed authentic piano works.
Meanwhile a lot of chamber music and songs (German:Gesang, lied) had been composed, and there was always a piano in the midst of those works. Piano solo, however, might have been too hard to express his inspiration of welling up melodies and creative energy.
Symphony No. 4, Cello Sonata No. 2, Violin Sonata No. 2, No. 3 – these masterpieces were composed from the year 1885 (Brahms age 52) to 1888. When he finished String Quintet No. 2 in 1890, Brahms suddenly experienced his falling creative energy.
He wrote his will in 1891. In the same year he was greatly impressed by Richard Mühlfeld’s (1856 – 1907) clarinet. His fresh energy of composing has been restored again. Thus two of his masterpieces, Clarinet Trio and Clarinet Quintet, were composed in 1891.
At Bad Ischl (a spa town in Austria) he stayed every summer until 1896, one year before his passing away. Brahms composed here 20 Piano Pieces (No. 116 – 119) in summer 1892. In the first half of that year one of his close friends Elisabeth von Herzogenberg (1847 – 1892) and his elder sister Elise passed away one after another. A sense of loneliness must have driven him into the shadows of his last stage of life, for Brahms stayed single.
On the other hand, there was a discord between Clara Schumann (she was already 72 years old) and him on the reprint of Schumann’s Symphony in D minor. Because Brahms was willing to be reconciled with her, both of them restored a close relationship each other again. At dusk of their lives the setting sun casted tranquil and warm light.
The change of various human relationships in 1892 might have influenced on the birth of these precious Piano Pieces. His purely resigned emotions are reflected on simple and exquisite notes, and his technique has been polished much more. Feelings and emotions of the Romantic composers, having been united with poems and literature, reached a perfect terminal.
The term intermezzi were first adopted by Schumann. When a composer could not name the feelings of work, something romantic, fantastical, and of melancholy, German Romantic composers often used the title intermezzi.
The first piece of Three Intermezzi Op. 117 is from the folk songs “Lullaby of an unhappy mother” by German poet Herder. The quoted two lines are as follows:
Sleep softly, my child, sleep gently and beautifully! Your crying makes me heartache.
Brahms named it ‘my sorrowful lullaby’. Clara Schumann came to know these pieces in October 1892. They say she often played them upon the piano until the last year (1896) of her life.
Johannes Brahms
2 Rhapsodies Op. 79
Brahms had 46 years old in 1879. He finished Violin Sonata No. 1 Regenlied and 2 Rhapsodies at Pörtschach by the lake of Wörthersee (southern Austria) in that summer. The forests and mountains are wonderful there.
The title rhapsody seems to be named because of enthusiastic and dramatic free style. Balanced composition, energetic large-scale, rich melody and tone, etc. – 2 Rhapsodies Op. 79 express all of these elements by one piano.
Ludwig van Beethoven (1770 – 1827)
Sonata for Piano No. 17 in D minor Op.31-2 “Tempest”
32 pieces of Piano Sonatas by Beethoven reflect on his life of pioneering the art of music, including improvement and development of forte-piano. That is why it always inspires diverse interests.
When he was 28 years old in 1798, he started suffering deterioration of hearing. It also created problems in human relationships at the same time. In October 1802 he wrote Heiligenstadt Testament, which expressed his traumatic emotional scars. However, it also turned out his major turning point to make up his mind once again for investing his life more intensively through his art.
I am still not satisfied with my composed works. I am going to walk definitely a new path from now on. – He declares in this way with the letter to one of his friends.
His three Sonatas for Piano No. 16, 17, 18 Op.31 were composed around this period.
When Anton Schindler (1795 – 1864) asked Beethoven his intention of OP.31-2, “Read Shakespeare’s The Tempest!” was his answer reportedly. This is from the derived sources.
Mme Slenczynska talked as follows:
Together with a photographer I travelled Positano, Italy some years ago. As we went to Blue Grotto of the island of Capri at an early morning, there were crabs on the ground, small animals hanging on the wall, etc. So the symphony of all of the living creature there has reminded me of the image of Beethoven’s ‘Tempest’.
Sergei Rachmaninov (1873 – 1943)
Études-tableaux Op.33 No. 7 in E flat major
Rachmaninov composed totally 17 Etudes, Op. 33 and Op. 39.
Josef Hofmann (1876 – 1957) and Rachmaninov are representative pianists of the 20th century. And Mme Slenczynska studied under both of them when she was still younger than 10 years old. The works of Preludes, and probably also Cello Sonata, must have been composed due to being inspired by respecting his senior Chopin’s works.
On the foundation of super-techniques, most of his works express poetic emotions and nostalgic scenes. He especially tried to express colors into sounds. The following episode of Mme Slenczynska mentions about it.
It was very fortunate of me to have been able to study under Rachmaninov in summer 1934 (age 9) and 1935. As he listened to my performance one day, he took me to the window at the Villa Majestic in Paris and said to me, “Your performance has no color. Try to play the chords like Mimosa flowers along the street of Paris!”
The title tableaux or the note picture of sound might be also considered as unnecessary when we think of the essence of the art of Rachmaninov.
His work Op. 33-7 is flooded with figures, chords and sounds that can only be expressed with big hands and long fingers. It is the very typical expression of rejoice by the Russians. Mme Slenczynska has rather small hands. This time her program was filled with big works. It seems to me that she would like to pay homage to her distinguished teacher.
Frédéric Chopin (1810 – 1849)
12 Etudes Op.25 No.12 in C minor
Chopin composed altogether 27 Etudes: Op. 10 and Op. 25 each 12 pieces, and Trois Nouvelles Études. It is inferred that Op. 10 was composed around 1829 – 1832 (Chopin’s age 19 – 22) and Op. 25 during 1832 – 1836.
Chopin’s Etudes are not intended for the sake of exercising fingers or educational effects. Melodies, harmonies, rhythm, expression of emotions, etc. – these are prime elements of the Romantics. Therefore, the title Etudes is nothing special, but Chopin has created absolutely unique art of music filled with new life.
The mere physical power or mobility of performance is not enough to play these 24 Etudes. Chopin has left them serving as a touchstone for true artists.
Op. 25-12 is also called as Ocean Etude. A series of storm like rising and falling arpeggios in various chord progressions with both hands last for almost three minutes. Its large-scale is quite appropriate as the closing piece of 24 Etudes.
Mme Slenczynska could not have breakfast without exercising these 24 Etudes when she was six years old. Having led the world, at the beginning of her thirties she had all of Chopin’s 27 Etudes recorded. She must endear many memories of Chopin’s 24 Etudes, directly being tied with her life. It was January 2003 when Mme Slenczynska unscheduled played this Op.25-12 Ocean Etude at a well-known music critic’s home in Taipei. And grace to this encounter, her incredible 15-year performance in Japan has started.
▶ Encore Frédéric Chopin
Waltz No. 7 in C sharp minor Op. 64-2
The dance called ‘waltz’ made waves in Europe in the 19th century. And yet Chopin has created his own waltz that confesses his soul with the unique expression.
Because this Waltz No. 7 has sweet poetic melancholy, it reminds us what Schumann commented on Chopin’s Waltz: Listening to the Chopin’s Waltz, the composer looks like smiling at those who are dancing. Soon, however, we come to understand that he thinks of something more serious.
A Commentary
Dmitri Dmitrievich Shostakovich (1906 – 1975)
24 Preludes and Fugues Op. 87 No. 5 in D major
Due to Zhdanov doctrine in 1948 Shostakovich was forced to comply with the wishes of Soviet Union government, for his art of music was criticized as imperialistic formalism. He had to compose according to socialism and realism. In 1950 he was invited to the 200th year commemorating festival of J. S. Bach at Leipzig. He was truly inspired by the greatness of the art of Bach there. At the same time Tatiana Nikolayeva attained the first place. Probably her appealing performance also served as one of the great incentives to compose his Preludes and Fugues. Of course she held the premiere.
Being enriched by an awareness of Bach’s musical forms, creative and unique personality of Shostakovich is fully expressed.
When my husband (professor of politics in the same Southern Illinois University) was invited to teach at a university in India, we also travelled to Iran.
There was a woman playing the balalaika under a tree. Her sound echoed with arpeggio chord of this Preludes D major. Playing the works naturally reminds us of various events in our lifetime when we have got elder. – Slenczynska
Johann Sebastian Bach (1685 – 1750)
The Well-Tempered Clavier, Book 1
Prelude and Fugue No. 5 in D major BWV850
Das Wohltemperierte Klavier (German): 1st volume published in 1722, 2nd volume in 1742, a book of preludes and fugues in all 24 major and minor keys. The Well-Tempered Clavier is called as Old Testament, and Beethoven’s Piano Sonatas as New Testament for pianists, so both are of paramount importance.
Book 1 was originally written for the sake of training his own son. Because advanced types of counterpoints are excellently used, it has been one of the Bach’s masterpieces. Having been inspired by these Bach’s works, Preludes by Chopin, Rachmaninov and Shostakovich were composed.
Johannes Brahms (1833 – 1897)
3 Intermezzi Op.117
Brahms himself was a virtuoso, but piano works by Brahms are surprisingly not so much. He composed these three Piano Sonatas when he was around 20 years old. The next 10-year period there are Variations by piano and about ten arranged works. When he was 59 years old, 20 plus years later since then, he again composed authentic piano works.
Meanwhile a lot of chamber music and songs (German:Gesang, lied) had been composed, and there was always a piano in the midst of those works. Piano solo, however, might have been too hard to express his inspiration of welling up melodies and creative energy.
Symphony No. 4, Cello Sonata No. 2, Violin Sonata No. 2, No. 3 – these masterpieces were composed from the year 1885 (Brahms age 52) to 1888. When he finished String Quintet No. 2 in 1890, Brahms suddenly experienced his falling creative energy.
He wrote his will in 1891. In the same year he was greatly impressed by Richard Mühlfeld’s (1856 – 1907) clarinet. His fresh energy of composing has been restored again. Thus two of his masterpieces, Clarinet Trio and Clarinet Quintet, were composed in 1891.
At Bad Ischl (a spa town in Austria) he stayed every summer until 1896, one year before his passing away. Brahms composed here 20 Piano Pieces (No. 116 – 119) in summer 1892. In the first half of that year one of his close friends Elisabeth von Herzogenberg (1847 – 1892) and his elder sister Elise passed away one after another. A sense of loneliness must have driven him into the shadows of his last stage of life, for Brahms stayed single.
On the other hand, there was a discord between Clara Schumann (she was already 72 years old) and him on the reprint of Schumann’s Symphony in D minor. Because Brahms was willing to be reconciled with her, both of them restored a close relationship each other again. At dusk of their lives the setting sun casted tranquil and warm light.
The change of various human relationships in 1892 might have influenced on the birth of these precious Piano Pieces. His purely resigned emotions are reflected on simple and exquisite notes, and his technique has been polished much more. Feelings and emotions of the Romantic composers, having been united with poems and literature, reached a perfect terminal.
The term intermezzi were first adopted by Schumann. When a composer could not name the feelings of work, something romantic, fantastical, and of melancholy, German Romantic composers often used the title intermezzi.
The first piece of Three Intermezzi Op. 117 is from the folk songs “Lullaby of an unhappy mother” by German poet Herder. The quoted two lines are as follows:
Sleep softly, my child, sleep gently and beautifully! Your crying makes me heartache.
Brahms named it ‘my sorrowful lullaby’. Clara Schumann came to know these pieces in October 1892. They say she often played them upon the piano until the last year (1896) of her life.
Johannes Brahms
2 Rhapsodies Op. 79
Brahms had 46 years old in 1879. He finished Violin Sonata No. 1 Regenlied and 2 Rhapsodies at Pörtschach by the lake of Wörthersee (southern Austria) in that summer. The forests and mountains are wonderful there.
The title rhapsody seems to be named because of enthusiastic and dramatic free style. Balanced composition, energetic large-scale, rich melody and tone, etc. – 2 Rhapsodies Op. 79 express all of these elements by one piano.
Ludwig van Beethoven (1770 – 1827)
Sonata for Piano No. 17 in D minor Op.31-2 “Tempest”
32 pieces of Piano Sonatas by Beethoven reflect on his life of pioneering the art of music, including improvement and development of forte-piano. That is why it always inspires diverse interests.
When he was 28 years old in 1798, he started suffering deterioration of hearing. It also created problems in human relationships at the same time. In October 1802 he wrote Heiligenstadt Testament, which expressed his traumatic emotional scars. However, it also turned out his major turning point to make up his mind once again for investing his life more intensively through his art.
I am still not satisfied with my composed works. I am going to walk definitely a new path from now on. – He declares in this way with the letter to one of his friends.
His three Sonatas for Piano No. 16, 17, 18 Op.31 were composed around this period.
When Anton Schindler (1795 – 1864) asked Beethoven his intention of OP.31-2, “Read Shakespeare’s The Tempest!” was his answer reportedly. This is from the derived sources.
Mme Slenczynska talked as follows:
Together with a photographer I travelled Positano, Italy some years ago. As we went to Blue Grotto of the island of Capri at an early morning, there were crabs on the ground, small animals hanging on the wall, etc. So the symphony of all of the living creature there has reminded me of the image of Beethoven’s ‘Tempest’.
Sergei Rachmaninov (1873 – 1943)
Études-tableaux Op.33 No. 7 in E flat major
Rachmaninov composed totally 17 Etudes, Op. 33 and Op. 39.
Josef Hofmann (1876 – 1957) and Rachmaninov are representative pianists of the 20th century. And Mme Slenczynska studied under both of them when she was still younger than 10 years old. The works of Preludes, and probably also Cello Sonata, must have been composed due to being inspired by respecting his senior Chopin’s works.
On the foundation of super-techniques, most of his works express poetic emotions and nostalgic scenes. He especially tried to express colors into sounds. The following episode of Mme Slenczynska mentions about it.
It was very fortunate of me to have been able to study under Rachmaninov in summer 1934 (age 9) and 1935. As he listened to my performance one day, he took me to the window at the Villa Majestic in Paris and said to me, “Your performance has no color. Try to play the chords like Mimosa flowers along the street of Paris!”
The title tableaux or the note picture of sound might be also considered as unnecessary when we think of the essence of the art of Rachmaninov.
His work Op. 33-7 is flooded with figures, chords and sounds that can only be expressed with big hands and long fingers. It is the very typical expression of rejoice by the Russians. Mme Slenczynska has rather small hands. This time her program was filled with big works. It seems to me that she would like to pay homage to her distinguished teacher.
Frédéric Chopin (1810 – 1849)
12 Etudes Op.25 No.12 in C minor
Chopin composed altogether 27 Etudes: Op. 10 and Op. 25 each 12 pieces, and Trois Nouvelles Études. It is inferred that Op. 10 was composed around 1829 – 1832 (Chopin’s age 19 – 22) and Op. 25 during 1832 – 1836.
Chopin’s Etudes are not intended for the sake of exercising fingers or educational effects. Melodies, harmonies, rhythm, expression of emotions, etc. – these are prime elements of the Romantics. Therefore, the title Etudes is nothing special, but Chopin has created absolutely unique art of music filled with new life.
The mere physical power or mobility of performance is not enough to play these 24 Etudes. Chopin has left them serving as a touchstone for true artists.
Op. 25-12 is also called as Ocean Etude. A series of storm like rising and falling arpeggios in various chord progressions with both hands last for almost three minutes. Its large-scale is quite appropriate as the closing piece of 24 Etudes.
Mme Slenczynska could not have breakfast without exercising these 24 Etudes when she was six years old. Having led the world, at the beginning of her thirties she had all of Chopin’s 27 Etudes recorded. She must endear many memories of Chopin’s 24 Etudes, directly being tied with her life. It was January 2003 when Mme Slenczynska unscheduled played this Op.25-12 Ocean Etude at a well-known music critic’s home in Taipei. And grace to this encounter, her incredible 15-year performance in Japan has started.
▶ Encore Frédéric Chopin
Waltz No. 7 in C sharp minor Op. 64-2
The dance called ‘waltz’ made waves in Europe in the 19th century. And yet Chopin has created his own waltz that confesses his soul with the unique expression.
Because this Waltz No. 7 has sweet poetic melancholy, it reminds us what Schumann commented on Chopin’s Waltz: Listening to the Chopin’s Waltz, the composer looks like smiling at those who are dancing. Soon, however, we come to understand that he thinks of something more serious.