C. DEBUSSY: La cathédrale engloutie (1910)
La cathédrale engloutie (The Sunken Cathedral) is the tenth prelude in Debussy's first book of préludes, written between 1909 and 1910. The piece is program music that depicts the legend of an underwater cathedral from the undersea city of Ys. The music represents the cathedral rising and sinking with the tides, accompanied by the sounds of the carillon bells. The piece is loosely structured in A-B-A form, with the main melody played at the beginning and end.
DEBUSSY: Les collines d'Anacapri (1909)
Les collines d’Anacapri (The Hills of Anacapri) is the fifth prelude in the first book, inspired by the town of Anacapri on the island of Capri. The piece is a lively mix of scherzo and tarantella styles, with moments of awe, and is played in the key of B major. It begins with isolated tones, like a stunning view on a clear day, and then transitions into a lively and energetic tune.
F. CHOPIN: Nocturnes, op. 27, no.1 (1836)
Chopin's nocturnes are his most distinctive and popular works. The two nocturnes of op. 27 were dedicated to Countess Thérèse d’Appony and were composed in 1835. They contain dreamy melodies and genius touches that elevate the archetype. The C-sharp minor nocturne has a contrasting middle section with a dancing character and rises to a tremendous climax before returning to the home key. The D-flat nocturne has three strophes with the same single-note melody that grows more agitated and fuller in texture. Chopin played the D-flat nocturne for Mendelssohn, who was impressed and wrote to his sister about it.
J. BRAHMS: Three Intermezzo, op. 117 (1892)
Johannes Brahms composed the three Intermezzi for Solo Piano, op. 117 in 1892 after his retirement. They were described as personal and subjective, with echoes of Robert Schumann's music. Brahms referred to them as "three lullabies to my sorrow." The first intermezzo has a gentle rocking motion like a lullaby, the second is a miniature sonata form, and the final one is haunting and tragic with a fleeting quote from Brahms's first violin sonata. They contain references to Scottish ballads and were sent to Clara Schumann, with whom Brahms had a relationship.
B. BARTÓK: Suite, op. 14, Sz. 62, BB 70 (1916)
Béla Bartók's piano music is inspired by Eastern European folk dances, and has a direct and percussive style. His Suite, op. 14, composed in 1916, showcases his desire for a simpler, more transparent piano technique. The four movements contain echoes of folk music, with exotic modal and whole tone scales. The first movement has the energy and repetition of a Romanian folk dance, while the second is thrillingly percussive with hints of jazzy improvisation. The third movement is influenced by the Arab music Bartók heard in North Africa; and the final movement fades into dreamy, nocturnal shadows.
L. VAN BEETHOVEN: Sonata No. 6 in F Major, op. 10, no. 2 (1798)
The second sonata in Beethoven's op. 10 set is dedicated to Countess Anne Margarete von Browne, and is one of the shortest sonatas he composed. It is described as witty and bright, and has two main themes that contrast with each other. The development section features a comical section, like something out of a circus. The final movement is a playful, rustic theme with some fugal elements. The sonata is free and light-hearted with serious musical elements present throughout.
