A simple rondo in a solid classical, almost gallant, style. The rondo theme is a forgettable alternation of tonic tones and dominant tones articulating a a steady and predictable phrase pattern. The piece goes through the paces, it has moments in the minor and a slight, very slight development, always keeping the clear phrase divisions of the work. What is interesting is that these phrase divisions can be deceptive, in the theme the strict alternation of four bars is clear, but sometimes it is elided, othertimes it becomes 2+2+2, instead of 2+2+2+2 measures, you'll note this in the first episode. Like several other of these very early works it was published by the influential Bossler in the Blumenlese für Klavierliebhaber, or as the Bethovenhaus so lovingly translates it: “Bouquet of the Finest Flowers for Lovers of the Piano.” Bossler also was responsible for publishing and publicizing the music of Haydn, Mozart and Pleyel.
Sunday, May 24, 2009
Rondo for Piano in C major (1783)
Biamonti 4; WoO 48
A simple rondo in a solid classical, almost gallant, style. The rondo theme is a forgettable alternation of tonic tones and dominant tones articulating a a steady and predictable phrase pattern. The piece goes through the paces, it has moments in the minor and a slight, very slight development, always keeping the clear phrase divisions of the work. What is interesting is that these phrase divisions can be deceptive, in the theme the strict alternation of four bars is clear, but sometimes it is elided, othertimes it becomes 2+2+2, instead of 2+2+2+2 measures, you'll note this in the first episode. Like several other of these very early works it was published by the influential Bossler in the Blumenlese für Klavierliebhaber, or as the Bethovenhaus so lovingly translates it: “Bouquet of the Finest Flowers for Lovers of the Piano.” Bossler also was responsible for publishing and publicizing the music of Haydn, Mozart and Pleyel.
A simple rondo in a solid classical, almost gallant, style. The rondo theme is a forgettable alternation of tonic tones and dominant tones articulating a a steady and predictable phrase pattern. The piece goes through the paces, it has moments in the minor and a slight, very slight development, always keeping the clear phrase divisions of the work. What is interesting is that these phrase divisions can be deceptive, in the theme the strict alternation of four bars is clear, but sometimes it is elided, othertimes it becomes 2+2+2, instead of 2+2+2+2 measures, you'll note this in the first episode. Like several other of these very early works it was published by the influential Bossler in the Blumenlese für Klavierliebhaber, or as the Bethovenhaus so lovingly translates it: “Bouquet of the Finest Flowers for Lovers of the Piano.” Bossler also was responsible for publishing and publicizing the music of Haydn, Mozart and Pleyel.
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