Not long ago, searching for new piano sheet music, I saw in the Internet the works by William Baines 'Coloured Leaves' unknown to me. This is a small piano cycle of three pieces: Prelude, Valse, and Still day. It is absolutely charming piano miniatures written in Romantic style. They attracted my attention, as if to take these three pieces separately, they can be played by middle class students (I’m a piano teacher at a music school), and the cycle as a whole suits for a high school program.
Usually, when I introduce the children to new pieces, we also acquaint ourselves with authors’ biographies. It upset me to learn that the life of William Baines was not so rosy and very short. A very young soul begot these compositions. And each of them is like a page of his life.

Here you may find the sheet music of Coloured Leaves

I thought that the pieces, written by their peer, will be very close to the children. The first piece Prelude sounds like a story. It’s expressed in a frequent meter change, emphasis change and even calm rhythm. The second piece is a light and graceful Valse, which firstly seems to be simple, but has many melodic details, and, well performed, can sound very impressive. But most of all I liked the final piece Still day. It’s full of sadness, calm and serenity.
In my opinion, the title 'Coloured Leaves' fits this cycle very well. Although all three pieces have the same romantic mood, they are very different in their genre and character. Therefore, I suggest you performing of the entire cycle. The piece won’t be arid, and, at the same time, it will allow the students to demonstrate their skills to embody different characters and moods.

This piece is a brilliant piano fantasia on the themes from opera "The Elixir of Love"("L' elisir d'amore") by Donizetti. Smith showed masterfully feelings of the main characters of the opera: affection, coquetry, rivalry, jealousy, and above all, love - and made them festal and playful.
It’s surprisingly, that the composer retained in his piano piece the characters of the opera’s heroes. It seems the author is painting the image of a timid young peasant Nemorino, of the beautiful coquette Adina, dreaming of elevated love, of the cunning and tricky quack Dulkamar; of the brave but ignorant Sergeant Belcore and of many other characters. Following Donizetti, Smith makes his own parody interpretation of the legend about the magic love potion. In an effort to portray different characters, as well as to embody the comicalness of the situation, the author combines in The Grande Fantaisie 'L' elisire d'amore' absolutely contrasting moments, which require different manners of playing. Frequent changes of dynamic nuances, accents, techniques and ways of playing music help to create a vivid and colorful imagery of the piece. And the light, lofty theme of the "love drink" is a unifying element in such a multifarious and variegated work.
Smith has created a great piece - light, refined, but worthy of virtuoso performers and large concert halls.

Some time ago I’ve found in the Internet a piece by Sydney Smith with a fascinating title - The Last Rose of Summer ... I have played it often and for a long time and every minute I immersed deeper and deeper in the amazing atmosphere, created in this work. The composer pictured very masterly the image of a lone flower, the summer’s ending and, probably, last hopes of us all.
Through skilful whirling passages, taking the whole piano keyboard, the barely hearable, modest melody begins to appear, gaining strength with its gradual development. Suddenly, the beautiful image appears to my eyes: a flower of astonishing beauty, growing in the stormy ocean among the fading summer’s nature. This defenseless essence makes you unwittingly stop and reflect. What a grace, elegance and therewith power are hidden in this fragile rose! The composer shows with amazing precision her thin, almost transparent petals, the drops of dew, fallen that very morning on the accurate, as if specially cut leaves. It seems you even start feeling the subtle aroma emanating from this plant. And what a tranquility and tenderness come over the listener while the short moments of contemplation! You draw such a strength and endurance from it!
The Last Rose of Summer ... the ending summer... As if it were our farewell to something. But still, the last hope remains in the soul.
That is the very natural beauty, which we usually do not notice, the last hope, which we all so desperately need.

I love romantic music so much and perform romantic concertos for piano and orchestra with great pleasure! Sometimes I take scores at home, play a piano solo part and imagine the sound of an orchestra. Recently I’ve found scores with the piano transcription of a violin concerto by Mendelssohn. This was a Paraphrase of the composer Sydney Smith. He was able to merge the solo and orchestral part into one unity. Now, I enjoy learning of this piece. I wonder how Smith could keep all the beauty of the concert by Mendelssohn. The piece has practically lost nothing over the only piano sound. On the contrary, such pieces allow the pianists to perform the whole piece by themselves and immerse in the beauty of music. Especially as its difficulty level is not very high and many musicians could enjoy its practicing thus.
While performing of the piano transcription of the Mendelssohn's Violin concerto, you get into the world of a lone, misunderstood human soul, seeking for calm and serenity. I sometimes have this feeling by myself. May be that's why this work is so clear and close to me.

Not so long ago I’ve been looking in the Internet for any piece of music that could touch my heart and soul. And finally I’ve found the fantasy by S. Smith on Shakespeare's tragedy "Romeo and Juliet". Tell me, which woman doesn’t care about love and devotion? I think each one does. Especially when such strong emotions are running high. There’s everything you need in this piece: the first young love, so sincere and ingenuous, the long-standing war between two proud families, who do not want taking the first step towards reconciliation, good and evil, life and death.
All these themes are shown so brilliant and magnificent in the fantasy. Frequent march intonations describe the picture of self-confident young people, going through life bold and proudly. At this moment the music is dynamic and vigorous. A soft, light and melodious tune, which embodies the great feeling of love, changes the lively and bold tone of the march. And this love is mutual! That’s why the simple melody develops gradually into a tremulous theme.
There are some difficult moments in the fantasy Romeo and Juliet, which hold our attention while practicing this work: a rather large number of virtuoso passages, dense texture of music and octave doublings. But what a pleasure you take in surmounting of all these difficulties. You feel like you were involved in this love story, so tragic, but very beautiful.

In the big concert hall and near the campfire, in the club and at home: guitar is always a guest of honor in any situation of our live and fits into every scenery well. I doubt strongly whether there is any person in the world, who doesn’t love this soft and sincere sound. One of the most wonderful musical instruments had won my heart for ages. Long before I became a pianist I’ve been enchanted with its modulating touching harmony.

Over many centuries the guitar was a faithful companion of human civilization. It changed strongly its size and shape, which may vary greatly, but its purpose is still the same – to amuse the listeners and to give free rein to the performer’s thoughts and feelings. And nowadays it’s really impossible to imagine some musical styles without this instrument: they are recognized as one of the primary instruments in jazz, blues, country and rock music. Guitars, both acoustic and electric, can be played solo and as a part of the instrument background. It should be noted that guitar-concerts enjoy increasingly popularity and a number of guitarists from different genres (classical, rock, jazz and so on) became self-sufficient world-known stars, e.g. Joe Satriani, Eric Clapton, David Gilmour, Ritchie Blackmore and many others.


Download guitar sheet music

As a pianist I can add, that it’s always a great joy for me to play pieces which include the guitar part. Its sound enriches the melody strongly, makes it more vivid and memorable.

I'm a big opera fan, you know. And I was so happy, when I’ve found sheet-music by Sydney Smith some time ago! This author has a few fantasies on themes from operas by various composers. I was deeply interested in «La Traviata». I’ve been right looking for music scores my pupils could play at the concert. And I set my choice on this piece. It contains everything what I needed: beautiful music and numerous playing techniques, which can effectively adorn the performance.
The piece’s playing techniques are very diverse. You can work out the chord-playing technique (octaves occur often) by practicing this fantasy. You can demonstrate your skills in playing cantilena (beautiful melodies are enough here). And the musicians, who succeed in fast virtuosic playing, having good fingering techniques, will also enjoy this piece. It has a large number of passages.
So, you can give a very spectacular performance and show all your performing skills due to Fantaisie brillante sur l'opéra de Verdi La Traviata, Op.103, which has everything you may need. And though you have to take some pains in its practicing, believe me, the thing is worth the effort. I recommend it strongly.

Metz Ekghern. In the Memory of the Genocide by Hrach'ya Yessayan.

Filled with infinite sorrow this piece shocked me with its acute sharpness and strong emotionality. It involves me into the cruel world, where hate and fear reign, where is no place for love and compassion. While its listening awful images of the ruthless war are raising in my eyes. The anxious strings create a very strained atmosphere that electrifies the listener during the whole piece. Melody interrupted from time to time with knocks gives additionally the feeling of utter despair. It seems to me, that this music is an exact reflection of the inner state of mind of the people from the “lost generation”, these, who lived and grew up just before and right after the World War II: nervous, broken and very sorrowful.

You can listen to the sound sample, download the sheet music for free, and even buy a license to perform or record this striking piece.

And I’m very grateful to the author for this remarkable work, because I think that it’s a very necessary thing – not to go ahead such a terrible fact like genocide – especially nowadays, when people became blind to cruelty and violence happening in the world.

The cycle consists of eight piano miniatures. Although pieces are written by the author in the beginning of the XX century, they are composed upon the pattern of romantic music. The titles of pieces, the character of music, rich harmony and used techniques of the musical development testify this.
General feeling of the cycle is joyous and full of optimism: the opening pieces are filled with light and playful images, which gradually lead to a calm, dreamy, melancholy mood.
The composer used various musical tempos (from adagio to vivace), performance techniques (staccato, legato, marcato), registers and rhythmic patterns (along with the even rhythm tied notes, syncopation and polyrhythm are often found here).
Due to this diversity of means of the musical expression the performer has the opportunity to demonstrate his mastery of cantilenas’ technique and his virtuosic playing.

Download sheet music of the Eight Pieces for Piano Op.85

The small size of pieces and the average level of skills allow many performers to include these pieces into their repertoire.

The new music I've recently discovered comes from Russia. Contemporary composer Dmitri Capyrin creates a highly refined and mental music for different instruments.Here I'd like to say a few words about his compositions.

And a Light through Foliage
for Trio (Piano, Flute, Cello)

When I’ve heard this piece for the very first time I was deeply impressed by the excellent mastery of its composer to transmit to the listener such a realistic image of his own impressions. Listening to this music I have dual feelings: on the one hand it is a light inexplicable anxiety, on the other hand it’s a little bit morbid joy that hides in blind corners of the heart, ready to break out at any moment.


House of Cards
for Quartet (Piano, Clarinet, Violin, Cello)

I like this piece very much because of its exceptional fragility and charming lightness. It touches gently the secret chords of my soul, makes me think about how delicate our life is, threatened on every corner of the fatal blow of fate, which invisible hand can destroy it like we destroy the house of cards. With one push. With no regret.

You'd better listen these compositions yourself and download scores of Russian contemporary music, in case you like it.

I have the firm belief that there is no inherited talent for music; therefore, we could make a child become either an excellent musician or a tone-deaf person according to the law of ability and principle of the life force activity.

If we do not educate at all, the child will learn nothing. For instance, the talent for music can only be had by cultivating it and can not be achieved by itself. This is my conviction.

If music talent could be acquired naturally, the cultural history of mankind would have been quite different, I am sure.

If a newly bor baby is played a record of a Vivaldi violin concerto every day whenever it cries, the baby will have learned the concerto well after four or five months. The same thing is true if the baby is brought up listening to a Bach concerto.
This method of training is being put into practice today everywhere in Japan.
This fact entirely demolishes the common-sense notions that we have long held about the inborn talents of human beings, since it proves that there is no such thing as a person literally born with a special aptitude, such as an inborn talent for music.

I think almost everybody has heard the famous Nokia tune. It seems as it was the first remarkable ring tone from those times of first mobiles.

I was a bit surprised, when I’d found out, that this is a fragment of Gran Vals by Francisco Tárrega. This piece was written by composer in 1902. A virtuoso guitarist himself, Tárrega is considered as a musician who promoted a classical guitar. His guitar compositions are often performed in recitals and stand first in the guitar repertoire. You may download Gran Vals of Tárrega as many other guitar sheet music, and play these famouse measures yourself. If you haven't got which measures I am talking about, see the picture.

Though many composers have written and are continuously writing nice guitar pieces, there is no as much sheet music for the guitar as for the piano. Especially nowadays, it is quite difficult to find some really interesting piece of classical genres, which can be of interest for modern public. And this concerns not guitar only. In the piano repertoire the situation with contemporary music does not look favorable too, as it is very difficult to find new expressive methods nowadays. It is often too difficult for contemporary composers to strike a happy medium between complexity and primitive keeping large scale of expressiveness.

Once I had to do research in which I interviewed a great number of children from seven to twelve years, who learned to play different instruments. One of the questions I asked was: "Do you like to play etudes?" Some children answered, that they had not played etudes yet, others said that it wouldn’t make any difference to them whether they played an etude or any other piece. But most of them answered that they like to play neither etudes, nor exercises.

What is the reason for such an aversion to compositions of this type? The etudes, which are played by the novice musicians, have many negatives. A lot of etudes don’t have a figurative content. The theme for such an etude is nothing more than a simple melody, performed in the appropriate technique. The uniformity of the texture doesn’t promote the development of the child’s imagination. The expressive tools are limited to a few piano or forte and ritenuto between the middle part and the reprise. At the same time the sheet music of etudes is full of complex elements. The etude becomes faceless, non-emotional for the child. It turns into a mechanically performed burden, like a walk through the desert with a bag of stones on your back.
The question arises why musicians have to play etudes? Perhaps, they do it to learn to perform and improve the quality of a certain type of technique of performing. Meanwhile, one important point is missing. Why do you have to learn the new techniques? Of course, to gain the skills for a variety of compositions. Often, we are able to perform an etude correctly, based on some technique. Problems appear, when that same technique is applied in a piece. Here techniques are interweaved in the musical context of the piece, have a content, the musician must express in his performance, embodying the imagination, whereas playing etudes, many musicians play the appropriate notes without thinking about any expressiveness.

But we must keep in mind, an etude is also a musical work and at the heart of any piece of music is an idea. It is very important to teach the beginner to treat etudes like a concert pieces, which he has to play not only quickly, but also expressivly. It goes without saying that the teacher has to select carefully etudes and exercises, selecting the most interesting from a musical point of view. If the etude becomes a music composition of full value for a student, which excersising he will be interested in, the work on the technical skills will be an additional bonus to the exciting study of the music world.

Details of Phrasing and Accentuation
"Some students look upon phrasing as a detail that can be postponed until other supposedly more important things are accomplished. The very musical meaning of any composition depends upon the correct understanding and delivery of the phrases which make that composition. To neglect the phrases would be about as sensible as it would be for the great actor to neglect the proper thought division in the interpretation of his lines. The greatest masterpiece of dramatic literature whether it be Romeo and Juliet, Antigone, La Malade Imaginaire or The Doll's House becomes nonsense if the thought divisions indicated by the verbal phrases are not carefully determined and expressed".

"Great actors spend hours and hours seeking for the best method of expressing the author's meaning. No pianist of ability would think of giving less careful attention to phrasing. How stupid it would be for the actor to add a word that concluded one sentence to the beginning of the next sentence. How erroneous then is it for the pupil to add the last note of one phrase to the beginning of the next phrase.
Phrasing is anything but a detail".

"Fine phrasing depends first upon a knowledge of music which enables one to define the limitations of the phrase and then upon a knowledge of pianoforte playing which enables one to execute it properly. Phrasing is closely allied to the subject of accentuation and both subjects are intimately connected with that of fingering. Without the proper fingers it is often impossible to execute certain phrases correctly. Generally, the accents are considered of importance because they are supposed to fall in certain set parts of given measures, thus indicating the meter".

"In instructing very young pupils it may be necessary to lead them to believe that the time must be marked in a definite manner by such accents, but as the pupil advances he must understand that the measure divisions are inserted principally for the purpose of enabling him to read easily. He should learn to look upon each piece of music as a beautiful tapestry in which the main consideration is the principal design of the work as a whole and not the invisible marking threads which the manufacturer is obliged to put in the loom in order to have a structure upon which the tapestry may be woven".

FINDING INDIVIDUAL FAULTS

"I trust that my experience will set some ambitious piano students to thinking and that they may be benefited by it. There is always a way of correcting deficiencies if the way can only be found. The first thing, however, is to recognize the detail itself and then to realize that instead of being a detail it is a matter of vast importance until it has been conquered and brought into submission. In playing, always note where your difficulties seem to lie. Then, when advisable, isolate those difficulties
and practice them separately. This is the manner in which all good technical exercises are devised".

"Your own difficulty is the difficulty which you should practice most. Why waste time in practicing passages which you can play perfectly well? One player may have difficulty in playing trills, while to another player of equal general musical ability trills may be perfectly easy. In playing arpeggios, however, the difficulties which prove obstacles to the players may be entirely reversed. The one who could play the trill perfectly might not be able, under any circumstance, to play an arpeggio with the requisite smoothness and true legato demanded, while
the student who found the trill impossible possesses the ability to run arpeggios and cadenzas with the fluency of a forest rivulet".

"All technical exercises must be given to the pupil with great discretion and judgment just as poisonous medicines must be administered to the patient with
great care. The indiscriminate giving of technical exercises may impede progress rather than advance the pupil. Simply because an exercise happens to come in a certain position in a book of technical exercises is no reason why the particular pupil being taught needs that exercise at that particular time. Some exercises which are not feasible and others which are inexpedient at a certain time, may prove
invaluable later in the pupil's progress".

"Take the famous Tausig exercises, for instance. Tausig was a master of technic who had few, if any, equals in his time. His exercises are for the most part very ingenious and useful to advanced players, but when some of them are transposed into other keys as their composer demands they become practically impossible to play with the proper touch, etc. Furthermore, one would be very unlikely to find a passage demanding such a technical feat in the compositions of any of the great masters of the piano. Consequently, such exercises are of no practical value and would only be demanded by a teacher with more respect for tradition than common sense".

SELF DEVELOPMENT

"In my own development as an artist it has been made evident to me, time and time again, that success comes from the careful observance of details. All students should strive to estimate their own artistic ability very accurately. A wrong estimate always leads to a dangerous condition. If I had failed to attend to certain details many years ago, I would have stopped very far short of anything like success".

"I remember that when I concluded my term as professor of piano at the New England Conservatory of Music I was very conscious of certain deficiencies in my style. Notwithstanding the fact that I had been accepted as a virtuoso in Europe and in America and had toured with great orchestras such as the Boston Symphony Orchestra, I knew better than anyone else that there were certain details in my playing thta I could not affort to neglect".

"For instance, I knew that my method of playing the trill could be greatly improved and I also knew that I lacked force and endurance in certain passages. Fortunately, although a comparatively young man, I was not deceived by the flattery of ellmeaning,
but incapable critics, who were quite willing to convince me that my playing was as perfect as it was possible to make it. Every seeker of artistic truth is more widely awake to his own deficiencies than any of his critics could possibly be".

"Take the famous Tausig exercises, for instance. Tausig was a master of technic who had few, if any, equals in his time. His exercises are for the most part very ingenious and useful to advanced players, but when some of them are transposed into other keys as their composer demands they become practically impossible to play with the proper touch, etc. Furthermore, one would be very unlikely to find a passage demanding such a technical feat in the compositions of any of the great masters of the piano. Consequently, such exercises are of no practical value and would only be demanded by a teacher with more respect for tradition than common sense".

THE SIGNIFICANCE OF THE DETAIL

Ferruccio Busoni

"In fine piano playing all of the details are important. I do not mean to say that if one were in another room that one could invariably tell the ability of an artist by hearing him strike one note, but if the note is heard in relation to the other notes in a composition, its proportionate value should be so delicately and artistically estimated by the highly trained performer, that it forms part of the artistic whole."

"For instance, it is quite easy to conceive of compositions demanding a very smooth running performance in which one jarring or harsh note indicating faulty artistic calculation upon the part of the player would ruin the entire interpretation. As
examples of this one might cite the Bach Choral Vorspiel, Nun Freut euch, of which I have made an arrangement, and such a composition as the Chopin Prelude Opus 28, No.3, with its running accompaniment in the left hand."

"It is often perfection in little things which distinguishes the performance of the great pianist from that of the novice. The novice usually manages to get the so-called main points, but he does not work for the little niceties of interpretation which are almost invariably the defining characteristic of the interpretations of the real artist that is, the performer who has formed the habit of stopping at nothing short of his highest ideal of perfection."

(by Wilhelm Bachaus)

"I have continually been asked, "What is the most difficult composition?" The question always amuses me, but I suppose it is very human and in line with the desire to measure the highest building, the tallest mountain, the longest river or the oldest castle. Why is such a premium put upon mere difficulty? Strange to say, no one ever seems to think it necessary to inquire, "What is the most beautiful piece?" "Difficulty in music should by no means be estimated by technical complications. To play a Mozart concerto well is a colossally difficult undertaking.
The pianist who has worked for hours to get such a composition as near as possible to his conception of perfection is never given the credit for his work, except
by a few connoisseurs, many of whom have been through a similarly exacting experience. Months may be spent upon comparatively simple compositions, such as the Haydn Sonatas or the Mozart Sonatas, and the musical public is blind to the additional finish or polish so evident to the virtuoso."

(By Will Earhart)

1. The first facts in music are emotional cries, as of birds, animals, primitive men.

2. In origin music is characteristically vocal.

3. The individual, at the moment of musical experience, is strongly active (emotionally).

4. The value of music to humanity is to heighten man's power by vast intensification of feeling.

5. The highest temple of musical art would be the music-drama auditorium.

In contrast to this general view a view that is seldom if ever, explicitly stated, but that may be discerned as implied by attitudes and preferences is another, similarly existing by implication only. It assumes that music arose because of
the Pleasure of the Ear in Tone. Instead of the emotional cries of birds, animals and men, this theory would find the origin of music in the twang of the bow-string, the sound of the wind in the reeds, the murmur of falling waters, the ring of wood on wood. All natural sonorities would become primary experiences in man's musical development. As against the other view, we would now think of music as primarily or characteristically instrumental; would conceive the individual, at the moment of musical experience, not as being strongly active but as being sensitively and beautifully receptive; would find the value of music to humanity to reside (in a word) in culture that is, in the ability to find joy in every beauty that nature or man provided; and would find the true temple of music represented, not by the
operatic stage, but perhaps by the organ-loft in St. Thomas Church in Leipzig, as Bach communed with incorporeal visions; or perhaps by the small chamber in which a string quartet would seek glories from an unseen world.

In this instrument ("the king of instruments") the art of instrument making has reached its highest point in terms of simplicity of materials and effect. The violin has the unique advantage of combining the emotional expressiveness and flexibility of the human voice, which it closely resembles, with a special brilliance and agility of its own in passage work. Unlike the human voice, the violin can also play chords to some extent.



This instrument first emerged in the sixteenth century and evolved substantially to its present form in the eighteenth century with Antonius
Stradivarius. Certain changes were made in the nineteenth century to in crease the power and brilliance of the violin. The bow, "the soul of the instrument," is strung with horsehair, and it assumed its present form about 1780 in the hands of Franfois Tourte, still considered the greatest of all bowmakers.

The violin is fully chromatic (that is, can play all the semitones) throughout its range. Originally the violin I part had more interesting and difficult things to do than the violin II. Since Wagner, however, the latter part has become increasingly difficult, and in some scores one part is as difficult as the other.

Almost any violin concerto will give an idea of the violin's capacity for
singing tone and brilliant passage work.

Bach Brandenburg Concerto No1 Part 1

(By J. Edwards)
In simplest definition, music is rhythmical sound used as a means of expression. What it expresses is first in the soul from which it flows. It takes the color of the soul's atmosphere. As an art it is not found in nature, but belongs to the ear, the brain, and the spirit of man. Nature gives only sound of which to make music. It is, therefore, a human art for the expression of the spiritual in man. In its primitive form, as in drum worship and the early religious use of bells, music was really a naive attempt to interview the invisible spirits supposed to reside within them, which responded by rhythmical and more or less melodious sounds. The ascent from a crude, animistic essay at communion with the spiritual world to the Veni Spiritus, Bernard's celestial song, Bach's Passion Music, or the best hymns of Wesley and Faber in fitting musical expression, marks the course of man's religious growth. In sacred music he utters the highest that is in him, and aspires after that which is far higher.

Have you ever seen how awesome cats play the piano? And generally have you seen any cats playing the piano? I found an amazing funny video with a cool cat.
There is so much sense in its performance! It is playing very expressive and listening to how the piano sounds. Well, actually I always suspected that the cat is a pretty smart animal, but I haven't realized how smart it can be so far. The most surprisingly is that it sits on the chair during the playing and plays "with both hands"!

I've seen some beautiful pictures of Renee Fleming and her amazing dresses, designed specially for the gala showcase by Karl Lagerfeld, Christian Lacroix, and John Galliano. A dress trimmed with lace from "Manon," designed by Mr. Lagerfeld is really a dainty work. Costumes from "Traviata" designed by Mr. Lacroix are iridescent and full of air. And my absolute favorite, the amazing dress, designed by Mr. Galliano for scenes from "Capriccio."

You can have a look at these photos here: NY Times photos of Renee Fleming

(By Philipp Spitta)

The old Variation form, above all, is brought out from the treasures of the old composers, and glorified in his hands. Brahms's variations are something quite different from what had been commonly known by that name. Their prototype is Bach's Aria with thirty variations, and that work is an elaboration of the form known as the Passacaglia, in this the determining idea is not the addition of figures or of various accompaniments to the theme or melody, but the persistent identity of the bass. This continues the same through all the variations; upon that a free treatment is worked out — not, however, excluding an occasional reference to the original melody. Beethoven so far adhered to the usually accepted form, as to restrict the supremacy of the bass to alternate use with variations in the melody, and Schumann followed his example. This form was not adopted by other great masters, and even Beethoven and Schumann only used it fitfully.

Brahms, so rich in inventive combinations, stands nearer to Bach than to Beethoven, but has much of Beethoven's freer style of treatment. Augmentation or diminution of the phrases forming the theme are a manner of variation never used by Beethoven, and employed by Brahms only in the variations in the two first Sonatas, and in the independent Air with Variations (Op. 9). In this it is often surprisingly ingenious, but he must have thought the process incompatible with his strict sense of form, just as he gave up changes of key from one variation to the next, which Schumann often used, though Beethoven allowed himself only once (Op. 34).
In the second variation in Op. 9 we find, on the other hand, what important pre-eminence he assigns to the Bass; and in the tenth variation of the same set he even uses it as the melody in the upper part. Then he derives a subject from the diminution to half or quarter notes of the opening of the theme; this is worked out to fill up the required measure, while the essential harmonies are maintained in the same succession, so that the theme, or part of it, is reflected, as it were, to and fro, from two or four mirrors. This first work of his with variations was written on a theme by Schumann, and dedicated to Clara Schumann, and Brahms therefore introduced some other musical ideas of theirs as a mark of respect.

Similar ingenious adaptations of borrowed materials often occur in his works. A brilliant instance of ingenious and artistic combination is to be seen in the ninth variation, which seems to introduce a whole piece of Schumann's with a slight alteration (out of Bunte und Blatter, Op. 99, No. 5) in the middle part, heard through the compressed theme-melody. How thoroughly he had thought out the spirit of the Variation is seen in the fact that he is fond of interchanging the modulatory relations of the two phrases of the theme. The place where this generally occurs is at the beginning of the second part; but also in the second half of the first part. The digressions, more or less important, which he admits are always so chosen that the effect of the newly introduced key approximately answers to that produced by the original key of the preceding or following phrase. Even the cadenzas appear altered from this point of view.

It is impossible, from description, to form even a faint idea of the wealth of fancy, of inventive power, of vigorous vitality that lies in Brahms's variations. I cannot, indeed, conceive of any more subtle or more thoughtful treatment of this form of music than that of Brahms — for instance, in the Variations for the Piano, on a theme of Handel (Op. 24). The danger, as it seems to me, is that the true form of variations should be lost sight of, which consisted originally in the persistent embellishment of an air. The bass of a simply harmonized theme- melody has not, as a rule, any very distinctive character.
And when it happens that the theme is a mere popular and insignificant tune, the result is a series of movements that have nothing in common with it but the constant number of bars and the regular alternation of the original key with those of the two dominants. This is the case in the Paganini Variations (Op. 35); and also, it must be said, in Beethoven's Thirty-three Variations on a waltz by Diabelli.

In close relationship to the Variation form, we had in the seventeenth century the Suite, both being essentially species of Clavier music. Of the set of dances which constituted a Suite, the first was the theme; the others were variations on it, each in its own rhythm. Traces of this connected form survived into the eighteenth century, till Bach finally severed the parts. His Suites having come into favor again in our time, some modern composers have felt prompted to imitate him; but their Suites are not Suites. When they are not Sonatas, or a simplified form of Symphony, they are Serenades. Brahms has altogether neglected the Suite. Though in his second Sonata the Scherzo is developed like a last variation from the Andante (with variations), it is one of the ingenious ideas of which his early works are full.

Bedřich Smetana (1824-1884) was endowed by nature with a rare gift of musical initiative. While a wee child of five he was already playing the violin and composing; as a poor student he returned one evening from a concert of chamber music and wrote down a string quartet he had heard, because he could not buy a copy of it. Like Beethoven, he lost his hearing in the time of his most intensive period of creation. When deaf and persecuted by the malignity of his enemies, when fate knocked on his door with its iron hand and robbed him of his wife and child, his genius created the greatest works.

The high spiritual plane of his life as it touched the personal and the accidental is revealed in the charming string quartet "From my Life". "My quartet," says Smetana, "is not merely formal playing with the tones and motifs, to show off the composer's skill, but it is the real picture of my life. The tone sounding for a long time in the Finale is that whistling sound of very high pitch, which had preceded my deafness. This little tone-picturing I dared to insert in this composition because it was so fateful for me." Smetana always found in the small ensemble of chamber music the proper interpreter for expression of his most intimate feelings. Thus the Trio, op. 15, was written to the memory of his little daughter, whose death brought to Smetana a great sorrow.

Smetana never accommodated his artistic principles to the taste of the public. He was too serious an artist to make a work pleasing to the masses. His eight operas – except The Bartered Bride – had to fight against a wall of misunderstanding; and were victorious, only after many years of dispute, because of their originality and vitality. A real genius, Smetana was much ahead of his time. The Bartered Bride (1866), Two Widows (1874), The Kiss (1876), The Secret (1878), and The Devil's Wall (1882) represent the highest style of the comic operas. Each of these works introduces a charming overture of a pure musical beauty, classical in form.



Dalibor (1868), a historical-romantic opera, became a favorite even outside its native land. The story is based upon a Czech folk-legend of the fifteenth century, which tells about a knight, Dalibor, who was a prisoner at the castle in Prague. He begged his jailor for a violin to lighten the heavy hours of his captivity. After a time, it is said, he played with such marvelous skill that the people came from far and wide to stand outside the prison walls and listen to the charming music. Likewise the libretto to the festival opera Libussa (1881) is drawn from the Czech history. This work marks the climax of Smetana's genius, and knowledge of it is indispensable to the student of Czech musical art. The overture to this opera is a masterpiece of form and festival mode. It begins with a trumpet call, developed in a tremendous gradation. Surely this work ought to be heard at least in a concert hall.

Considering the technical side, Smetana's works exhibit a great skill in the most problematic combinations of the polyphonic style flowing so naturally, that the hearer does not notice the difficulties solved with such exquisite grace and lightness. The melodies are fresh, original, and impressive, and enriched with Smetana’s harmonic peculiarities.

As a composer for the piano Smetana left a considerable number of works, especially Polkas, which he idealized in a very poetic form. His Polka No. 1, op. 7, was one of Liszt's favorites. Two cycles of piano compositions, of which the first bears the title Reves, and the other The Bohemian Dances, especially deserve the attention of the pianist. In this later work the Czech folk-melodies are preserved in very artistic and pianistic style. Smetana's best known composition, which is often played at concerts, is his etude By the Seashore, op. 17, a difficult but very effective piece of music snatching the spell of the Northern Sea.

In the last period of his creation Smetana expressed his love and admiration for his country and its history in poems in a cycle called My Country, consisting of six charming symphonic poems: Vyšehrad, the old castle, the seat of the first Bohemian ruler; Vltava, the river of Bohemia; Šarka, the Bohemian Amazon; From Bohemian Meadows and Woodlands, an idyll; Tabor and Blanik, which picture in tones the glorious past epoch of the Reformation. With this work the composer reached his goal. No greater tribute to his success is needed than Liszt's exclamation upon hearing of Smetana's death—"He was a genius!"