Johannes Brahms - Ballade Op. 118 No.

Johannes Brahms (1833 - 1897) was born to a musical family in Germany. Brahms
was able to play the piano, violin and cello and he is also one of the leading
musicians and composers of the Romantic period. Besides composing keyboard
music, he also composed for orchestras, chamber ensembles, choruses and voice.

Brahms’ ballade in G minor, has the typical ternary form ABA. It begins in its tonic
minor, G minor, modulates to its mediant major, B major, in the middle section,
before returning to its original key in the final section.

For each main section, it is further divided into smaller subsections, with the first and
third main section having three subsections in ternary form, and the second main
section having two subsections.

The first main section is supposed to be played fast and with energy, with the chords
slightly short and detached. In this section, the 5-bar main motif is introduced. This
motif is fast and loud and is made up of leaping octaves in the bass, and short
chordal quavers in the upper voices. This motif is then repeated, however is modified
slightly. The music then proceeds to the second subsection, where this subsection
tones down to piano and is made up of a few ascending sequences. These
sequences then lead into the third subsection, where the main theme returns,
however more dramatic and elaborate than the first, building up to a loud climax. The
first main section then closes with a slower and more lyrical codetta.

The second main section, now in the key of B major, is performed legato and
extremely softly with the use of the una corda. This second 10-bar motif is made up
of running arpeggios in the left hand, with dotted crotchets and quavers in the right
hand. The music then momentarily modulates to D-sharp minor, where the structure
of the last few bars of the subsection is similar to the first theme of the ballade. The
second subsection then begins exactly the same way as the first subsection,
however it closes with a series of different chords and moves to the final main
section.

The last main section begins with a short phrase in which this phrase is played softly
and gradually increasing in volume to lead into the return of the main theme. This
final section is then exactly the same as the first section until the coda. The coda
begins fortissimo and gradually becomes very soft at the end of the piece. The coda
starts with a inverted pedal point of the tonic in the upper voice, with concurrent G
minor chords being sounded in the lower voices. The coda then ends off with a
perfect cadence in its tonic key, G minor.
 J.S. Bach - Prelude and Fugue in A-flat Major (BWV 862)

Johann Sebastian Bach (1685 - 1750) was born in Germany and is one of the most
prominent composers of the Baroque period. He was famous for his works for organ,
orchestra, choir and other solo instruments. Bach was proficient in the organ, violin,
viola and harpsichord. Some of his most famous words would be “The Well-
Tempered Clavier”, a collection of preludes and fugues, in which this Prelude and
Fugue in A-flat Major is found.

Bach’s prelude in A-flat major is predominantly polyphonic, and makes use of many
imitations and sequences throughout the piece. There are also modulations to E-flat
and D-flat major in the piece. This prelude is made up of 3 voices, two upper and one
lower. The prelude is in triple time and the form would be themes and variations.

Prelude

The prelude begins with the first theme. This 2-bar theme is homophonic and is
made up of triadic motifs first in the tonic key in the first bar, then followed by an
ascending sequence of the motif in the second bar. The theme answered by the
imitation in the lowest voice. Concurrently, the answer will be accompanied by the
countersubject in the higher voice. Sequences of the theme will then continue until
the music modulates to E-flat major in the second variation.

In the second variation, the key is now E-flat major and has a contrapuntal texture of
two voices. This variation has the motif being sounded in the lower voice, while being
accompanied by the running semiquavers of the upper voice. The theme of this
variation is then followed by many sequences before ending in a perfect cadence.

The third variation is still in E-flat major and has a contrapuntal texture, however this
variation has 3 parts and is similar to the first theme. The music then modulates back
to the tonic, A-flat major, where the motif is played in the upper voice with
descending semiquavers in the lower voice. Next, the music modulates to the
subdominant major, D-flat major, with the descending semiquavers now in the upper
part and motif in the lower part.

The next variation is then back in the tonic key, A-flat major, with two voices. The
motif is now in the upper voice with running semiquavers in the lower voice. This is
then followed by a series of sequences before leading into the coda.

The coda begins with a sequence of running semiquavers a compound third apart,
then the final sounding of the opening theme before ending with a perfect cadence.

Fugue

Bach’s fugue in A-flat major is predominantly contrapuntal and uses many running
semiquavers, sequences and modulations in the piece. This fugue has four voices,
two upper and two lower. The fugue consists of four parts, the exposition section,
episode, tion and a coda.

The exposition section begins with the first subject in the tonic key, A-flat major by
the middle lower voice. This subject is a 7-note motif, in which most are quavers. The
lowest voice then answers in the dominant major, E-flat major, while the middle
upper voice counters the answer with the countersubject of running semiquavers. A
short codetta of running semiquavers then follows before the third entry of the
subject enters in the highest voice and answered by the second highest voice. A
string of running semiquavers and inverted pedal points then follow before the
episode.

The episode involves modulations to other keys and many running semiquavers.
Many falling sequences are also heard in this episode. The episode then closes with
a final modulation to the dominant major, E-flat major, before leading into the final
section.

In the final section, the opening subject and answer is heard in the tonic key. This is
followed by many entries of the subject and answer in different voices. In this section,
there is use of a few inverted pedal points. The final section then concludes with a
rising sequence of running semiquavers and finally with an interrupted cadence.

The coda is made up of running semiquavers in the lowest voice and a series of
chords in the upper voices before ending with a grand perfect cadence in A-flat
major.
 Wolfgang Amadeus Mozart - Sonata in C minor (K457)

Wolfgang Amadeus Mozart (1756 - 1791) was an Austrian composer of the Classical
period. Having composed over 600 works of different genres (e.g. piano, symphonic,
orchestral, chamber etc), he became one of most famous and influential composers
of his era. This particular sonata he composed is one of the only two minor sonatas
Mozart composed.

Mozart’s Sonata in C minor consists of three movements, Molto Allegro, Adagio and
Allegro Assai. As the piece from the Classical period, the range of dynamics are
more diverse than that of the Baroque period, however it only ranges from
pianissimo to forte. The changes in dynamics are mostly gradual, either getting
louder or getting softer. The texture of the sonata is predominantly homophonic, and
the form varies with each movement of the sonata.

Molto allegro

The first movement, Molto allegro, is in sonata form, which consists of four parts: the
exposition, the development section, the recapitulation section and the coda. The
exposition begins with a loud and grand entry of the first subject, which starts with
the rising arpeggio of the C minor chord. This subject lasts for about twenty bars,
until the second subject is introduced. This second subject is in the relative major, E-
flat major. And in contrast to the first subject, it has a soft and lyrical touch. In this
subject, there is great use of Alberti bass, which was a common feature of the
Classical period. The exposition section then ends off with an interrupted cadence in
E-flat major.

The development section then takes over. In this section, the opening subject and
second subject is further developed, and even modulates to F minor and G minor in
its course. There is much use of running triplets in the bass in the later part of the
development section. The section then concludes with a prolonged dominant 9th
chord of C minor, leading to the recapitulation section of the sonata.

The recapitulation section then begins with the opening subject in the same form and
key as the exposition. However, the second subject is now more developed, and in
the tonic minor, instead of the dominant major. The recapitulation section then closes
with a loud descending scale, to lead into the coda. The coda contains various
materials of the movements, and closes quietly with a perfect cadence in C minor.

Adagio

This lyrical second movement is in rondo form (ABACA), and in the relative major, E-
flat major. In section A, the first theme of the movement is played in an undertone,
and makes use of Alberti bass as accompaniment. The first time this subject is
introduced, it is quite simple and straightforward. However, as the music progresses,
the second and third time this subject is heard, it is more decorated and complicated
with added notes and quicker rhythms.

The B section modulates to the dominant major, B-flat major. This section is
relatively short, however is introduces the second theme, which is later heard in the
coda.
The C section of this piece is significantly longer than the B section. It begins after
the second A section beginning in A-flat major momentarily, then modulating back to
the tonic major. This is where a few very fast rising and falling scales are heard. This
then leads to the modulation to G-flat major.

After the C section, the piece returns to the A section, where the theme is very much
decorated and elaborate. An extended coda the follows, whereby material of the
second theme is used in the tonic key, which hence closes with a perfect cadence.

Allegro assai

This dramatic last movement is written in sonata-rondo form, and the first subject
begins in its tonic key, C minor. This first subject begins soft and tense, but builds up
to a grand climax of 3 chords then closes on the tonic note. The subject is relatively
long, lasting for about 45 bars, before leading into the second subject, which is in its
relative major, E-flat major. The second subject is mostly quiet and lyrical with a
moving accompaniment in the bass. This is followed by a short codetta. This codetta
is made of fast moving quavers in the right hand and a series of different chords in
the left hand.

After this, the opening subject is then heard again, exactly in the same form and key
as the first time. However, the subject is not complete, providing a link to a second
codetta of the piece. This codetta serves as a transition to the next section. In this
next section, the second subject is heard, however, it is now in the tonic key of C
minor.

In the last section, the principal subject is heard again, however with added materials
in between. The second codetta is also heard again, however this time it serves as a
link to the coda of the piece. The coda is quite long, consisting of fast moving
quavers, then finally ending the whole sonata with a dramatic and grand perfect
cadence.
 Maurice Ravel - Sonatine pour piano

Modéré

The Sonatine’s first movement adopts the form of a sonata in the Classical period;
consisting of four sections: the exposition, development, recapitulation and the coda.

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