Part 10 (1/2)

BACH, BEETHOVEN, CHOPIN, SCHUMANN, LISZT

The fullness hich the characteristics of the different co chapters of this course leaves little to be said in this final suram which we have not already had in combination with the others is that of Liszt, itself fully treated in the previous chapter

We have now arrived at a point where a co to reat variety of grades of difficulty As an illustration, three prograreater difficulty than the fifth grade, and is, therefore, within the reach of pianists of very moderate abilities The second is of a hth or ninth grade, and requiring raht play In so far as regards the ram, they are not beyond the reach of the better class of pianists, as we find them almost anywhere; but froood deal of musical maturity

PROGRAM I (Easy)

Bach, Prelude and Fugue in D major Clavier, No 5

Saraband in E minor

Loure in G major (Heinze) Beethoven, Sonata in G major, opus 14, No 2

Chopin, Impromptu in A-flat, opus 29

Nocturne in B major, opus 15

Schumann, Forest Scenes: ”Entrance,” ”Wayside Inn,” ”Honer-Liszt, Spinning Song, fro Dutchman”

PROGRAM II (Moderate)

Bach, Prelude and Fugue in C-sharp major Clavier, No 3

Beethoven, Sonata in A-flat major, opus 26

Schu,” ”Why?”

”Whi”

Chopin, Prelude in D-flat; Scherzo in B-flat arian Rhapsody

PROGRAM III (Difficult)

Bach-Liszt, Fantasia and Fugue in G an) Beethoven, Sonata in C minor, opus 111

Chopin, Fantasia Impromptu in C-sharp minor, opus 66

Studies, opus 10, Nos 3, 5, and 12

Nocturne in G major, opus 37

Schumann, ”Kreisleriana,” opus 16, Nos 1 and 2

Liszt, ”Eclogue,” ”Au Bord D'Un Source”

”The Erl King” (Schubert)

In all these programs, except the second, the order observed is that of Bach, Beethoven, Chopin, Schuram to be played before those not accustomed to classic music, it is quite practicable towith a combination of three pieces by Bach, Chopin, and Schumann or Liszt, or Bach, Schumann, and Chopin These could be followed by a serious Beethoven work, such as one of the larger sonatas; and this again by a few small pieces, in order to relieve the overtaxed attention; the whole concluding with a Hungarian rhapsody or soe before arriving at era to the end, in the direction of greater freedom of expression and more brilliancy and adaptability to the pianoforte; so the h, and the only trouble is a fear lest the early pieces may prove too severe to those who are not accusto to music of this kind In the case of musical clubs, and other places where the study of art is the principal ht, since when it is designed to present progra to be understood and to be heard several ti is apparent to the listener, a certain aht to be done, either by ether in a sort of preliminary rehearsal by a coments and comra is presented:

1 Bach, Prelude and Fugue in C-sharp major, Clavier No 3 Chopin, Fantasia Impromptu in C-sharp minor, Valse in A-flat, opus 42

2 Beethoven, ”Sonata Appassionata,” opus 57