Johann Sebastian Bach (1685 1750) Suite No.

5 in G major, BWV 816

A suite with great intellectual depth and technical difficulty, this is characterized by singing melodies. Divided in two sections, the Allemandes melodys leading throughout this dance with singing bass line, though at one point the left hand falls into the typical Allberti bass pattern of the classical style. The Courante opens using the scales of the original key, modulating to the relative key and ends the first half in the dominant key. The second half begins with the scale of D major, this time played by the left hand. A dance with constant running notes brings us to an end, again, with the opening scale. After an Italian-style Courante, the Sarabande which has an ornament melody keeps this harmonious dance well kept above the accompaniment throughout. Bach heightens the piece using triplet passages in the melody befor closing. The Gavotte is one of the most danceable of all the movements, recollective in its springy rhythm of Bachs orchestral gavottes. Its second half enforces to become more serious but the rhythm of the opening has the final say. A catchy dance with much light to the music, the Bourree has the second half that turns the theme upside-down. This is surprisingly melodious, again, probably because of Bachs determination to keep the suite euphonic. An elegant French dance is the Loure with a curious halting rhythm. It has a short imitative answer that follows the opening theme though the second half differs, still keeping the first two-note motif in mind. Each half ends with particularly rich harmonies. The Gigue is a full-blown fugal movement with a long subject. When the second theme enters, the first features a repeated note figure that keeps the piece rhythmically spirited. This is developed into a leaping ida in the second half which continues till the end.

Wolfgang Amadeus Mozart (1756 - 1791) Sonata in B flat K 333 / 315c

The Piano Sonata in B-flat major K333 was composed at the end of 1783. Also known as the Linz sonata, it is written in a concerto style. Though sounding truly Mozartean, the influence of J.C. Bachs natural flowing and easy style writing is evident in this primarily melodic sonata. The 1st movement opens with a descending semiquaver appoggiatura scalic figure in cantabile style which will gather tone and brilliance at important cadences. Though flowing and easy in style the movement has its moment of surprise in the development section with an expected prefect cadence in F major being replaced by a plunge into F minor. The 2nd movement in E-flat is influenced by Mozarts experiences as an opera composer with its melodies accompanied by flowing broken triads. Throughout the 2nd movement, chromaticism is present which occasionally evokes a slight sense of dissonance and the word cantabile applies to every phrase. The finale in sonata-rondo form has the influence of the concerto. This is seen in the appearance of the repeated note figure in b.36 after brilliant build up and trill which is comparable to the Bb Concerto, K450, first movement, in which the orchestra offers a similar surprise. Other concerto-like feature is the forte counter statements of its rondo-theme and its full-scale cadenzanear its end. Though unified and serene in its basic character, Mozart occasionally reveals surprising turbulence and drama in all three movements.

Felix Mendelssohn (1809 1847) Song without Words Op. 53, No. 3
Mendelssohns most significant contribution to the solo piano literature rests in the eight volumes, consisting of six songs each known as the Songs Without Words composed between 1820-1840, which Mendelssohn probably intended for the amateur performers. The work presented today is the 3rd from the 4th volume in G minor. It opens with a stormy octave bass followed by arpeggiated chords which continue to frame the pieces accompaniment. Not until the ninth bar is the motive of this piece loudly apparent. Introduced much dynamic contrast is written to give the effect of the agitation. A modulation to D minor in the A section brings the music to a short break-away from the continuous arpeggiated chords which passes through Bb major befor returning to the original key on the dominant 7th chord with the opening motive. The piece comes to an end with a sweeping arpeggio of the tonic chord spamming four octaves and dies away with two tonic chords.