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Updated: May 5, 2025
The trip has always lingered, but not too much for the delicious change when it returns to carry us off our feet. The Scherzo now steals in again, quite a piece, it seems, with the Trio. In the hushed discourse of Scherzo theme that follows, the old melody still intrudes.
The Scherzo starts in a quick three-beat strum on the chord we have pointed to as a true model trait of negro music, with the lowered leading-note. The theme, discussed in close stress of imitation, seems merely to mark the rapid swing in the drone of strange harmony. The lyric mood all but suppresses the dance, the melody sounding like a new verse of the Largo.
A nervous little staccato scherzo fell from his fingers, but it dropped almost at once into a quieter melody, and ended with something that sounded very much like the last strain of "Home, Sweet Home." Then he wheeled about on the piano stool. "Billy, that's exactly where you're wrong I DON'T want that kind of wife.
Here his fidelity to every outline of form becomes an interpretation. But Chopin is so much more than form that to follow every outline of it may be to leave Chopin out of the outline. Pachmann, of all the interpreters of Chopin, is the most subtle, the one most likely to do for the most part what Chopin wanted. The test, I think, is in the Third Scherzo.
Strauss indicates a first, second and third theme, obviously of the symphony, not of a single movement. When the symphony was played, likewise under the composer's direction, in Berlin in December, 1904, a brief note in the program-book mentions the three groups of themes, the husband's, the wife's and the child's, in the first movement. The other movements are thus entitled: II. Scherzo.
Schumann compared the second SCHERZO, Op. 31, to a poem of Byron's, "so tender, so bold, as full of love as of scorn." Indeed, scorn an element which does not belong to what is generally understood by either frolicsomeness or humour plays an important part in Chopin's scherzos. The very beginning of Op. 31 offers an example. It must be a charnel-house, he said on one occasion."
But quickly they are transformed into the tempest of gaiety in full parade. When a new burst is preparing, we see the sighing figure all changed to opposite mood. The grim tune of Scherzo dance enters mysteriously in big and little and slowly takes on a softened hue, losing the savage tinge. After the returning dance, the farewell melody sings from full throat.
How that Scherzo danced and coquetted, and how the Presto flew as though all the winds were behind it, chasing its mad eddies of notes through listening space! At the end, amid a wild storm of applause, she laid down her violin, and, proudly smiling, her breast still heaving with excitement and exertion, received the praises of those crowding round her.
No doubt, the brilliant and ironic scherzo of the C-sharp minor Symphony, whose verve and passion and vigor make the composer of "L'Apprenti sorcier" seem apprentice indeed, is already characteristic of the composer of the string quartet and the suite for viola and piano. But much of the symphony is derivative. One glimpses the influence of Liszt and Tchaikowsky and Strauss in it.
Her hymn for the Bolivar centennial has become the national song of Venezuela. Her set of little waltzes, written for her daughter, Teresita, show the most delicious grace, while her Venezuelan Dances are full of interest. Among her other works, all for piano, are waltzes, fantasies, caprices, études, a ballade, a scherzo, a reverie and barcarolle, and a song without words.
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