The Circle Fifth of

the Composers
Franz Liszt (1811-1886)

Hungarian composer, pianist and teacher of the Romantic

period.

His Sonata in B minor one of the outstanding piano

compositions in the 19th century there are four themes in the
extended movement that is subdivided into 3 movements
classic sonatas, the themes are transformed and combined in a
free rhapsodic order, but it’s perfectly suited to the thematic
material and Liszt successfully adapted the cyclic strategy of the
symphonic poem. It was completed in 1853 and published in
1854 with a dedication to Robert Schumann.
 Robert Schumann (1810-1856) German
composer

His Symphonic Etudes Op. 13 is a set of études for solo piano.

Composed in 1834 as a theme and sixteen variations on a
theme by Baron von Fricken, plus a further variation on an
entirely different theme by Heinrich Marschner. Baron had
used the melody in a Theme with Variations for flute. An
Autobiographical element are used in this genesis of the Études
symphoniques.

Of the sixteen variations Schumann composed on Fricken's

theme, only eleven were published, But at the end Only 9 of
the twelve études were specifically designated as variations.
The sequence was as follows:
Theme – Andante [C♯ minor]
Etude I (Variation 1) – Un poco più vivo [C♯ minor]
Etude II (Variation 2) – Andante [C♯ minor]
Etude III – Vivace [E Major]
Etude IV (Variation 3) – Allegro marcato [C♯ minor]
 Etude V (Variation 4) – Scherzando [C♯ minor]
Etude VI (Variation 5) – Agitato [C♯ minor]
Etude VII (Variation 6) – Allegro molto [E Major]
Etude VIII (Variation 7) – Sempre marcatissimo [C♯ minor]
Etude IX – Presto possibile [C♯ minor]
Etude X (Variation 8) – Allegro con energia [C♯ minor]
Etude XI (Variation 9) – Andante espressivo [G♯ minor]
Etude XII (Finale) – Allegro brillante (based on Marschner's
theme) [D♭ Major]

Fifteen years later, in a second edition (Leipzig 1852), the 1837

title Études symphonies became Études on form of variations,
two etudes (Nos. 3 and 9 were considered not being exactly
variations) were eliminated, and some revisions were made in
the piano writing.
The entire work was dedicated to Schumann's English friend,
the pianist and composer William Bennett. Bennett played the
piece frequently in England to great acclaim, but Schumann
thought it was unsuitable for public performance and advised
his wife Clara not to play it.
This 'studies' was in the sense that the term had assumed in
Frédéric Chopin's Op. 10, to be Etudes for concert pieces in
which the investigation of possibilities of technique and timbre
 in writing for the piano is carried out; they are 'symphonic
études' through the wealth and complexity of the colours
evoked – the keyboard becomes an "orchestra" capable of
blending, contrasting, or superimposing different timbres.

If etudes Nos. 3 and 9 are excluded, where the connection with

the theme is Weak, the etudes are in variation form, But here
the variation principle is used more as free transformation, no
longer of an actual theme.
The Études symphoniques learn the lesson of Beethoven's
Diabelli Variations: the theme that acts as a unifying element is
amplified and transformed and becomes the basis from which
inventions of the expressive character. The work also shows the
influence of the Goldberg Variations, most obviously in the use
of a French overture variation.
His Etudes are highly virtuosic demands of the piano writing are
frequently aimed not only the new timbre but at clarification of
the polyphonic complexity more deeply into keyboard
experimentation where The Etudes are one of the most difficult
works for piano by Schumann.
Clara and Robert also maintained a close relationship with
German composer Johannes Brahms.
 Johannes Brahms (7 May 1833-1897) was a
German composer
His Concerto No. 2 in B-flat major Op. 83
I. Allegro non troppo
The work opens with the following horn call, which provides
much of the thematic material for the first movement, The
main theme is introduced by the horn solo, with the piano
interceding. The woodwind instruments play a small motif
before an unusually placed cadenza appears. The full orchestra
repeats the theme and introduces more motifs in the orchestral
exposition.
The piano and orchestra work together to develop these
themes in the piano exposition before the key changes to F
minor the piano plays a powerful and difficult section before
the next orchestral tutti appears.
The development, like many such sections in the Classical
period, works its way from the dominant key back to the tonic
while heavily developing themes. At the beginning of the
recapitulation, the theme is replayed before a differing
transition is heard, returning to the music heard in the piano
exposition (this time in B♭ major/minor). A coda appears after
the minor key section, finishing off this movement.
II. Allegro appassionato
 This scherzo is in the key of D minor in sonata form with a trio
inserted in the development that Brahms remarks as "tiny wisp
of a scherzo" that it is a tumultuous movement. The piano and
orchestra introduce the theme and develop it before a quiet
section enters.
Soon afterwards the piano and orchestra launch into a stormy
development of the theme before coming to the central
episode in (D major).
The central episode is brisk and begins with the full orchestra
before yet another quiet section intervenes; then the piano is
integrated into the orchestral effect to repeat the theme of the
central episode. The beginning section at the end returns but
with highly varied.
III. Andante
The slow movement is in the tonic key of B♭ Major and the
unusual extensive cello solo plays with a piano concerto (the
source of this idea may be from Clara Schumann's Piano
Concerto, which features a slow movement scored only for
cello and piano).
Within the concerto, the cello plays the theme before the piano
comes in. However, the melodic piece that the piano plays soon
gives way to a stormy theme in B♭ minor. When the storm
subsides, still in the minor key, the piano plays a transitional
motif that leads to the key of F♯ major, before the cello comes
in to reprise, in the wrong key, and knowing that it has to get
 back to B♭ major, the piano and the orchestra make a brief
transition to E major before finishing off the theme in its
original home key of B♭ major. After the piano plays the
transitional motifs, the piano quickly reprises the middle
section before the final coda is established.
IV. Allegretto grazioso—Un poco piu presto
The first section (bars 1 to 64) presents themes 1 and 2. The
first theme (also the "main theme") (1–8) is first played by the
piano and then repeated by the orchestra. The second theme
(16–20) expanded by tutti.
The second section (65–164) contains the next three themes.
Theme 3 (65–73) is very different from the previous ones, due
largely to its minor setting, Hungarian rhythm. Theme 4 (81–88)
is still in a minor and theme 5 (97–104) is in F major. These
three themes are each repeated back and forth several times,
which gives the section the character of a development.
The third section (165–308) can be seen as a reprise of the first
section striking new element is given in 201–205 and repeated
in 238–241, The fourth section (309–376) reprises themes 3, 5
and 4, in that order.
The final section, the coda, is built on the main theme, but even
here (398) Brahms presents a new element, restating the main
theme in triple over a little march, first played by the piano,
then answered by the orchestra, which trades themes with the
soloist before the final chords.
Tchaikovsky (7 May 1840-1893) was a Russian
composer
His Concerto No. 1 in B-flat minor Op 23
I. Allegro non troppo e molto maestoso – Allegro con spirito

The first movement starts with a short horn theme in B♭ minor, accompanied by orchestral
chords that quickly modulate to the lyrical and passionate theme in D♭ major. This
subsidiary theme is heard three times, the last of which is preceded by a piano cadenza and
never appears again throughout the movement. The exposition then begins in the
concerto's tonic minor key, with a Ukrainian folk theme based on a melody that Tchaikovsky
heard performed by blind lirnyks. A short transitional passage is a call and response section
on the tutti and the piano, alternating between high and low registers. The second subject
group consists of two alternating themes, the first of which features some of the melodic
elements of the introduction.
This is answered by a smoother and more consoling second theme, played by the strings
and set in the subtonic key (A♭ major) over a pedal point, before the appearance of the
woodwind theme, this time reinforced by driving piano arpeggios, gradually builds to a
stormy climax in C minor that ends in a perfect cadence on the piano. After a short pause, a
closing section, based on a variation of the consoling theme, closes the exposition in A♭
major.
The development section transforms this theme into an building sequence.After full piano
octaves, fragments of the theme are revisited for the first time in E♭ major, then for the
second time in G minor. Then the piano and the strings take turns playing the theme for the
third time in E major while the timpani plays a tremolo on a low B until the first subject's
fragments are continued.
The recapitulation features an abridged version of the first subject, working around to C
minor for the transition section. In the second subject group, the consoling second theme is
omitted; instead the first theme repeats, with a reappearance of the stormy climactic build
previously heard in the exposition, but this time in B♭ major. The excitement is cut short by
a deceptive cadence. A brief closing section comprises G-flat major chords played by the
whole orchestra and the piano. Then a piano cadenza appears, the second half of which
contains subdued snatches of the second subject group's first theme in the work's original
minor key. B♭ major is restored in the coda, when the orchestra reenters with the second
subject group's second theme; the tension then gradually builds, leading to a triumphant
conclusion, ending with a plagal cadence.
 II. Andantino semplice – Prestissimo – Tempo I

The second movement, in D♭ major, is in 6/8 time. The tempo marking, "andantino semplice",
lends itself to a range of interpretations.
(Bars 1-58) Andantino semplice / (Bars 59-145) Prestissimo / (Bars 146-170) Tempo I
After a brief pizzicato introduction, the flute carries the first statement of the theme. The flute's
opening four notes are A♭–E♭–F–A♭, while each other statement of this motif in the remainder
of the movement. After the flute's opening statement of the melody, the piano continues and
modulates to F major. After a bridge section, two cellos return with the theme in D♭ major and
the oboe continues it. The A section ends with the piano holding a high F major chord,
pianissimo. The movement's B section is in D minor (the relative minor of F major) and marked
"allegro vivace assai" or "prestissimo", depending on the edition. It commences with a virtuosic
piano introduction before the piano assumes an accompanying role and the strings commence
a new melody in D major. The B section ends with another virtuosic solo piano passage, leading
into the return of the A section. In the return, the piano makes the first, now ornamented,
statement of the theme. The oboe continues the theme, this time resolving it to the tonic (D♭
major) and setting up a brief coda which finishes ppp on another plagal cadence.
III. Allegro con fuoco – Molto meno mosso – Allegro vivo

The final movement, in rondo form, starts with a very brief introduction. The A theme, in B♭
minor, is march-like and upbeat. This melody is played by the piano until the orchestra plays a
variation of it in ff. The B theme, in D♭ major, is more lyrical and the melody is first played by
the violins, and by the piano second. A set of descending scales leads to the abridged version of
the A theme.
The C theme is heard afterward, modulating through various keys, containing dotted rhythm,
and the soloist plays A section then the B appears, this time in E♭ major. Another set of
descending scales leads to the A once more. This time, it ends with a half cadence in which the
coda starts. An urgent buildup leads to a sudden crash with F major octaves as a transition
point to the last B♭ Major melody played along with the orchestra, and it leads into a dramatic
and extended climax episode, gradually building to a dominant prolongation. Then the melodies
from the B theme are heard in B♭ major. After that, the final part of the coda, marked allegro
vivo, draws the work to a conclusion on a perfect authentic cadence.
 Edvard Grieg (1843-1907) was a Norwegian
composer and pianist.
His Concerto in A minor Op 16 I. Allegro molto moderato (A
minor) The first movement is in sonata form and is noted for
timpani roll in its first bar that leads to a dramatic piano
flourish, which leads to the main theme.
Then the key changes to C major, for the secondary theme.
Later, the secondary theme appears again in the recapitulation,
but this time in the key of A major. The movement finishes with
a virtuosic cadenza, flourish like the start of the movement.
II. Adagio (D♭ major) The second movement is a lyrical
movement in D♭ major, which leads directly into the third
movement. The movement is in ternary form (A–B–A). The B
section is in D♭ major and E major, then returns to D♭ major for
the reprise of the piano.
III. Allegro moderato molto e marcato – Quasi presto – Andante
maestoso (A minor → F major → A minor → A major) The third
movement opens in A minor with an energetic theme (Theme
1), which is influenced by the Norwegian dance: A major
(Theme 2). The movement returns to (Theme 1). A major Quasi
presto section, which consists of a variation of (Theme 1). The
movement concludes with the Andante maestoso in A major,
which consists of a dramatic rendition of Theme 2 (as opposed
to the lyrical fashion with which Theme 2 is introduced).