Romance sans Paroles (Piano Part) op. 12, no. 1
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An expansive melody with syncopated left-hand accompaniment leads into a middle section in which a dolcissimo theme metamorphoses into bursts of passion. The first theme returns and is followed by a short coda. By contrast with its predecessor, the fifth nocturne is more animated, with unexpected shifts into remote keys. Cortot said, "There are few pages in all music comparable to these. A recapitulation of the principal theme takes the piece to its conclusion. The nocturne, the last piece in the set of eight, is shorter and less complex than its immediate predecessor, consisting of a song-like main theme with a delicate semiquaver accompaniment in the left hand.
In contrast with the ninth, however, the tenth is darker and angrier.
The composer applies the A—B—A form less rigorously than in earlier nocturnes, and the opening bars of the piece recur intermittently throughout, eventually building to a fierce climax, described by Morrison as "a slow central climb There are deliberate dissonances and harmonic ambiguities that Pinkas describes as "taking tonality to its limit while still maintaining a single key. Nectoux writes that along with the sixth, it is "incontestably the most moving and inspired of the series.
Barcarolles were originally folk songs sung by Venetian gondoliers. His son Philippe recalled, "he would far rather have given his Nocturnes, Impromptus, and even his Barcarolles the simple title Piano Piece no. The first barcarolle was dedicated to the pianist Caroline de Serres Mme. The second barcarolle, dedicated to the pianist Marie Poitevin, [47] is a longer and more ambitious work than the first, with what Morrison calls an Italianate profusion of detail.
It opens with a simple phrase that is quickly elaborated into trills reminiscent of Chopin. The pianist Marguerite Long said that these ornaments "crown the theme like sea foam. One of the best-known of the set, [29] the fourth barcarolle is "tuneful, quite short, perhaps more direct than the others. Dedicated to Mme la Baronne V. Orledge calls it powerful, agitated and virile.
Koechlin brackets the sixth and seventh of the set together as a contrasting pair. Both pieces show "an economy of writing", the sixth "more moderate and tranquil in expression". Dedicated to Suzanne Alfred-Bruneau, [55] the eighth barcarolle opens in with a cheerful theme, which soon gives way to melancholy. The ninth barcarolle, in Koechlin's view, "recalls, as in a hazy remoteness, the happiness of the past".
The last of the set is dedicated to Magda Gumaelius. Cortot compared the first impromptu to a rapid barcarolle, redolent of "sunlit water", combining "stylised coquetry and regret". Dedicated to Mlle Sacha de Rebina, [55] the second impromptu maintains an airy tarantella rhythm. The third impromptu is the most popular of the set. His mature style is displayed in the central section, a contemplative andante , which is followed by a more agitated section that concludes the work.
Nectoux describes this impromptu as "a piece of sheer virtuosity celebrating, not without humour, the beauties of the whole-tone scale.
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The last work in the published set was written before numbers four and five. It was originally a harp piece, composed for a competition at the Paris Conservatoire in His is too orderly, too logical a mind to be really capricious. Salons of quite another order served, above all, entertainment, with amateurs performing privately, for family and friends. For such salon circles, composers wrote music tailored to the technical capacities, tastes and habits of the performers.
The different functions of salons were responsible for the unequal artistic and technical level of the music performed there. In addition to simple, sometimes trivial, pieces lacking in depth, there were also compositions of a high artistic and technical level requiring great fluency and giving the performers an opportunity to present brilliant technical effects.
Wieniawski's salon compositions were not intended to be performed at home parties by amateur musicians. Technically less complicated and providing fewer virtuoso devices than compositions meant for concert performance, these works required a fluency and lightness of playing, as well as a sense of style and the ability to present a beautiful cantilena line. But it was also a period of intensive creative work.
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Between and , Wieniawski published more than half of his compositions from Op. The autograph of Op.
This is the Rondo Russe dedicated by Wieniawski to Prince Nicholas Yusupov 1 in 2 the title page of the composition contains the following inscription: Both the appearance and the size of the sheets of this manuscript testify its album provenance. The sheets are in small portrait format, each provided with an ornamental border around the musical text twelve staves on each page, linked in threes for violin and piano.
Mendelssohn: Romances sans paroles
The manuscript was very carefully written out, with special attention paid to detail tempo, articulation and dynamic indications. The Rondo Russe differs greatly from the Rondo of Op. In the violin part, there is no fingering, the bowing is different from that in Op. The whole piece is to be played Allegretto.
Both the finale and the solo cadenza are greatly simplified. Opus 9 consists of two contrasting non-dance miniatures. As one of the numerous forms of artistic expression, the romance has its roots in vocal music. It was transferred into instrumental music towards the end of the eighteenth century and was added to the group of cyclical forms as a slow lyrical movement in concertos for solo instruments e. At the same time, the romance also appeared in instrumental music as a separate genre e. An instrumental romance is characterized by cantilena-based, lyrical, vocal-like melody, as well as a transparency and regularity of structure and phrasing mainly the ABA form of periodic structure.
Richard Rodgers, Lorenz Hart - Arranger: Alexander Tcherepnin - Arranger: View our privacy policy. Page 1 of 6. La Voix Du Coeur Op. Romance Pour Cendrillon harp Solo - Composer: Air De 'cavalleria Rusticana' No.
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Air De 'mignon' No. Trois Romances Sans Paroles Op. Romance In A Op. Romance Sans Paroles Op.