Chasing Themes

This post concerns the work of Robert Schumann. I have colored the time markers in order to more clearly indicate between which two points one is asked to make a comparison. For instance, the red time stamp of 2:06 in the Schumann Concerto asks one to compare what one hears with that of 3:02 in the Bach Concerto. In this fashion, the remaining three video clips are each compared with the same blue time stamp of 1:48, which refers to the Schumann. In Another case..., the final two video clips are to be compared in turns with the same first magenta time stamp of 0:30-0:48. 

Unbelievably, the only recording of the third of Liszt's Soirées de Vienne available on YouTube is in the form of a piano roll. These pieces were themselves constructed on backs of various waltzes by Schubert, Liszt expanding the material greatly. However, I could not identify in the waltzes which are said to constitute the third soirée that material heard at the time stamp and therefore should be considered Liszt's invention. Furthermore, because the soireés and the concerto appear to have been composed at nearly the same time, I hesitate to say which came first and who borrowed from whom. In the cases remaining, the dates of composition are sufficiently separated so as to claim precedence.

Four Respective Comparisons: The First

Robert Schumann – Piano Concerto in A minor (1845)
[beginning at 2:06 and 1:48, respectively]

Heard here...
Johann Sebastian Bach – Harpsichord Concerto No. 1 in D minor (c. 1739)
[beginning at 3:02]

Four Respective Comparisons: The Rest

Heard here...

Franz Liszt – Soirée de Vienne No. 3, S.427 (c. 1846-52)

[beginning at 7:31]

And here...

Felix Mendelssohn – Rondo Capriccioso in E major (c. 1828-30)

[beginning at 4:55]

And here...
Ludwig van Beethoven – Piano Sonata No. 11 in B-flat major (1800)
[beginning at 24:23]

Another case...

Robert Schumann – Novelette No. 2 in D major (1838)

[beginning at 0:30-0:48]

Heard here...

Franz Schubert – String Quartet No. 14 in D minor (1824)

[from beginning]

And here...

Ludwig van Beethoven – Violin Sonata No. 9 "Kreutzer" (1804)

[beginning at 35:44]

★

This blog is intended as a space within which I will share my findings related to classical music appropriation. Many composers in the past have quoted, borrowed, and recycled the themes and melodies of others. Having already noted many such instances, I hope to include the more interesting, and convincing, examples herein.

Chopin Plays Chopin (as does Scriabin)

This is post is dedicated to Chopin's recycling within his own oeuvre. As always, the page is divided into sections of vis-à-vis comparisons. The majority of comparisons found derive from Chopin's earliest works, such as the rondo, his first publication. It is remarkable to note how such relatively amateur material was excerpted and assimilated into, respectively, the autumnal fourth ballade. Like Beethoven, the composer's early explorations are later mined for their particularly good bits and put to use in mature works.

In the case of the seldom heard first piano sonata, so much of later compositions comes to the listener's attention that it is impossible to separate out each instance without careful comparisons of the scores. In the same vein, it is worthwhile to keep aware of appropriations other than those pointed out in this and subsequent posts. It is my experience that such a piece, in which reference is made to the work of another or the same composer, is likely to contain other such material, if perhaps to a less explicit degree. Referring to my previous post, the Mendelssohn concerto, for instance, contains a handful of other (rather uninspired) borrowings which I do not mention for reasons of difficulty, as suggested above.

First Comparison

Ballade No. 4 in F minor (1843)
[beginning at 8:13]

Heard here...
Rondo in C minor (1825)
[beginning at 4:29]

Second Comparison

Piano Concerto No. 1 in E minor (1830)

[beginning at 19:46]

Heard here...

Rondo à la Krakowiak in F major (1828)

[beginning at 3:53 and repeated throughout]

As a bonus...

Scriabin – Prelude No. 16 in B-flat minor (c. 1896)

[from beginning]

Heard here...

Chopin – Piano Sonata No. 2 in B-flat minor (1839)

[from beginning]

★

This blog is intended as a space within which I will share my findings related to classical music appropriation. Many composers in the past have quoted, borrowed, and recycled the themes and melodies of others. Having already noted many such instances, I hope to include the more interesting, and convincing, examples herein.

Ballet of the Chicken Scratch

To poke at what may be the worst popular composition in the classical keyboard repetoire, Mussorgsky's "Pictures at an Exhibition" appears to borrow from the work of at least one of his contemporaries. In the fifth movement, entitled "Ballet of the Unhatched Chicks," a passage from Mendelssohn's Piano Concerto No. 1 can be clearly heard. My personal opinion is that Mussorgsky lifted a simple theme for a trite composition, but that is another post.

It is worth pointing out how strongly the second movement of the Mendelssohn concerto (not featured in the clip) resembles that of Chopin's first concerto, which borrows from both the second and third movements. The two were begun in the same year, 1830, Mendelssohn finishing in 1831. The two composers knew each other and the admiration was mutual. I have hyperlinked the text to one instance where the similarity I mention can be heard, but there are others and one can compare the movements entirely, if desired. Pay careful attention to the respective orchestras.

Modest Mussorgsky – "Ballet of the Unhatched Chicks" (1874)
[beginning at 0:37]

Heard here...
Felix Mendelssohn – Piano Concerto No. 1 in G minor (1831)
[beginning at 13:54]

★

This blog is intended as a space within which I will share my findings related to classical music appropriation. Many composers in the past have quoted, borrowed, and recycled the themes and melodies of others. Having already noted many such instances, I hope to include the more interesting, and convincing, examples herein.