ATTENTION: For this AEIOU article, there is probably
a new version in
Austria-Forum
www.austria-forum.org
Please click here
|
Concerto for piano and orchestra
3rd movement: Sonata
|
basic
sonata
form
form scheme:
3rd movement
|
The 3rd movement is the successful attempt at pouring a new musical language into the basic
sonata form that had fascinated every composer since the Vienna Klassik. Schiske expressly
called the movement Sonata (instead of the German Sonate). He consciously returns to the
older form of the word (first mentiond in 1561) - from Italian sonare = a well-sounding piece of music.
|
bars 1-9
|
After a forte-beat of the orchestra the main theme is introduced by the celli in a swift
2/2 measure. The home key is E minor, the theme is light, the octaves underline the cheerful
mood.
|
bars 9-22
|
Similar to other passages in this concerto, the impulse of the first bar leads to a
continuation of the main theme. It closes with 2 beats by the orchestra.
|
bars 25-32
|
the continuation of the melodic flow corresponds to the concerto principle: the
soloist takes up the impulse provided by the 1st beat of the main theme, the orchestra carries it
on, the soloist continues.
|
bars 32-43
|
The thematic group around the main theme closes with the head of the main theme,
recurring frequently in the form of a canon.
|
bars 64-73
|
The secondary theme, characterised by the marking "molto espressivo" and "molto
legato" is in B major.
|
bars 74-100
|
The secondary theme recurs a second time, in the form of a canon and is extended
from 9 to 27 bars.
|
bars 101-116
|
At the beginning of the development the main theme is played twice in its
original form.
|
bars 214-228
|
The development, the central part of the clasical sonata form in which the themes
are unfolded, uses the main theme so that it does not recur in the recapitulation to avoid
lengthiness. The secondary theme, played in the brass, forms the brief recapitulation. The Coda
is the most brilliant part of the whole opus. It can be divided into 4 sections. The 1st is a
"fugato" with the main theme of the 3rd movement. It is presented unisono - according to the
form - in the 2nd violin and the reply is a fifth higher in the 1st violin.
|
bars 228-242
|
Fugato: a fugue-like section occurring within a movement that is not intended as
a fugue, e.g. in a symphony or a concert movement. Sometimes the theme occurs only 4 times, as
e.g. in Schiske’s piano concerto. The 3rd entry in the celli is again in the home key, the
response is given by the violas.
|
bars 279-288
|
In the 2nd section the passacaglia theme of the 2nd movement is confronted with
the main theme of the 3rd movement.
|
bars 288-297
|
In the 3rd section the theme of the toccata is played by the 2nd violin in
augmentation (the quarter-notes have become half-notes) while celli and double bass play the
main theme of the 3rd movement.
|
bars 311-320
|
Im 3. Abschnitt wird in der 2. Violine das Thema der Toccata in der Vergrößerung gespielt
(aus den Viertelnoten werden Halbenoten), die Violincelli und Kontrabässe spielen dazu das
Hauptthema des 3. Satzes.
|
bars 320-329
|
This contrapuntal play is repeated in a tansformed version: the theme of the
toccata is picked up by the horns and the 1st violins form a counterpart to the main theme of the
3rd movement.
|
bars 355-367
|
The 4th section is the climax and sublime conclusion of the work in which the 3 main themes of all the movements appear simultaneously.
|
bars 367-376
|
At a second presentation the themes have been exchanged.
|
bars 377-390
|
The last bars of the work reiterate the themes simultaneously, this time the main
theme of the 3rd movement forms the top voice. Baroque inventiveness is revived in a modern
musical language. The soloist’s chains of octaves conclude the concerto in the bright key of E
major.
|
|
