Title

• Andante con sentimento means at an easy walking pace, with feeling
• This piece is No. 7 from Jensen's 25 Etüden, Op. 32 — a set of studies covering all 24 major and minor keys, following the same key sequence as Chopin's Preludes
• An Etude (study) is a composition designed to improve a particular technique — here, maintaining a smooth melodic line above an arpeggiated semiquaver accompaniment; requires a cantabile tone and good balance between the hands
• Op. (Opus) means a work or group of works; the opus number identifies the piece

Life & Career

• Born 1837 in Königsberg (now Kaliningrad, Russia) into a family of musicians; died 1879 in Baden-Baden, aged 42
• Studied with Louis Ehlert, Louis Köhler and Friedrich Marpurg in his early teens
• 1856: moved to Brest-Litovsk as a piano teacher; later spent time in Copenhagen, befriending composer Niels Gade and touring with cellist Christian Kellerman
• 1866: moved to Berlin, taught at Carl Tausig's piano school
• 1868: moved to Dresden, devoted himself to composing; became an enthusiastic supporter of Wagner
• Suffered from throat and lung illness throughout his life; sought cures in Baden-Baden but died there at only 42
• His music shows particular influence of Robert Schumann

Major Compositions

• Piano: sonata, 25 Etüden Op. 32, Eroticon (seven pieces based on Greek legends), Deutsche Suite, Valse brillante, Fantasiestücke, Romances, Impromptus, Valses-caprices, Nocturnes, Idyllen
• Many Lieder (German art songs), works for piano duet, a piano trio, several orchestral works (including a concert overture), and an opera (never performed)

Contemporaries

Mendelssohn, Schumann, Adolf von Henselt, Brahms, Chopin, Liszt, Stephen Heller, Niels Gade, Smetana, Rubinstein.

Formal Structure — Ternary (ABA) with Coda

• Section A (bars 1–16), A major: Four 4-bar phrases. The first phrase has a gently lilting dotted-crotchet/quaver rhythm; flowing semiquaver broken-chord accompaniment, upper LH voice moves in 6ths or 10ths with the melody. Brief modulation to D major (subdominant) at end of phrase 2 (bars 7–8). Phrases 3–4 use diminished 7th harmony, syncopation and appoggiaturas for expressive emphasis; phrase 4 ends the section on the tonic note (bar 16).
• Section B (bars 17–32), F♯ minor (relative minor): Four 4-bar phrases; melody transposes bars 1–8 down a 3rd. Modulates to B major (bars 23–24). Phrases 3–4 use hemiola rhythm, diminished 7th harmony, and appoggiaturas; builds to a climactic arpeggiation of the diminished 7th chord B♯–D♯–F♯–A in bars 29–32 — a cadenza-like passage preparing the return.
• Section A (bars 33–48), A major: Same as bars 1–16.
• Coda (bars 48–54), A major: Dolcissimo; colourful chromaticism including 7th, 9th and augmented 6th chords; tonic pedal in bass maintains the sense of key; dreamlike character.

Key Changes (Modulations)

• D major (subdominant) — bars 7–8; established by V⁷–I cadence in D
• F♯ minor (relative minor) — Section B, bars 17–24
• B major — bars 23–24 within Section B

Signs & Terms

• Andante con sentimento — at an easy walking pace, with feeling
• dolcissimo — very sweetly
• Appoggiatura — a dissonant or non-harmonic note resolving by step; provides expressive emphasis
• Acciaccatura (crushed note) — indicated by grace note symbol
• Double sharp (𝄪) — raises the pitch of a note by a whole tone
• Tenuto (–) — held and slightly emphasised
• Arpeggio (𝄃) — notes of the chord played one after another, ascending
• Mezzo staccato — moderately short and detached
• ♩. = c. 42 — dotted crotchet beats per minute
• Hemiola — rhythmic grouping change from 6/8 to 3/4 effect (two dotted-crotchet beats become three crotchet beats)

Romantic Style Characteristics

Title & Background

• A sonata is a composition for one or two instruments in several contrasting movements; the name comes from the Italian suonare — "to play" or "to sound"
• Haydn's sonatas usually have three movements (fast–slow–fast); this sonata has: Allegro moderato (E major), Andante, and Finale: Tempo di Menuet
• Haydn's works were catalogued by Dutch musicologist Anthony van Hoboken; Hob. XVI covers the keyboard sonatas
• Allegro moderato means moderately fast
• Composed for the fortepiano — lighter tone, smaller range, wood frame, leather-covered hammers; earlier Haydn sonatas were written for harpsichord

Life & Career

• Born 1732 in Rohrau (Austria); died 1809 in Vienna, aged 77
• Age 8: moved to Vienna as a church musician; studied counterpoint from Fux's Gradus ad Parnassum; studied composition with Italian opera composer Nicola Porpora
• 1761: entered service of the wealthy Esterházy family; appointed vice-Kapellmeister (assistant director of music); promoted to Kapellmeister five years later
• Worked primarily at Eszterháza palace in Hungary — isolated but productive; international reputation grew greatly
• By the 1780s: most celebrated composer in Europe; mentor and friend to Mozart; teacher of Beethoven
• 1790s: undertook two successful tours to London
• One of the founders of the Classical style; transformed the symphony from light entertainment to a serious art form; helped establish the string quartet and piano sonata as major genres

Major Compositions

• Piano: at least 3 concertos, around 50 sonatas or divertimenti, fantasias, variations, dances
• Over 100 symphonies, over 60 string quartets
• Oratorios: The Creation and The Seasons

Contemporaries

C. P. E. Bach, J. C. Bach, Johann Baptist Vanhal, Karl Ditters von Dittersdorf, Luigi Boccherini, Muzio Clementi, W. A. Mozart, Jan Ladislav Dussek, Ludwig van Beethoven.

Formal Structure — Sonata Form

• Exposition (bars 1–24), E major → B major:
  • Bars 1–8: First subject, E major — paired 2-bar subphrases (antecedent/consequent); 2-part texture with punctuating chords; exemplifies Classical balance and symmetry; ends with V⁷–I cadence (bar 8)
  • Bars 9–15: Transition — immediately in B major (dominant); sequence using semiquaver motive; modulation strengthened by suggestion of dominant of B major (F♯ major) in bar 13; arpeggiated diminished 7th (A♯–C♯–E–G♮) in bar 15
  • Bars 16–20: Second subject, B major — begins with sextuplet flourish on dominant 7th; V⁷–I cadence in bars 19–20; first root-position B major chord in bar 20
  • Bars 20–24: Closing theme, B major — interrupted cadence (V–vi) in bar 22; Lombardic rhythms (Scotch snap) in bar 23; V⁷–I cadence in bar 24
• Development (bars 25–41), various keys:
  • Bars 25–30: Motives from first subject, transition and closing theme combined in C♯ minor (relative minor); modulates via B major to A major
  • Bars 31–36: First subject transposed to A major (subdominant); rising octave motive varied with diminished 7th harmony; outer voices move chromatically in contrary motion toward G♯ minor
  • Bars 37–40: Second subject in G♯ minor — distinctive sextuplet flourish; V–i cadence in G♯ minor
  • Bars 40–41: Re-transition, returning to E major
• Recapitulation (bars 42–75), E major:
  • Bars 42–54: First subject, E major — extended by a quasi cadenza from bar 50 (embellishes dominant 7th; chromatic scale in RH)
  • Bars 55–66: Transition transposed down a 5th to E major; arpeggiated diminished 7th motive used sequentially in bars 62–64
  • Bars 67–71: Second subject, E major — transposition down a 5th
  • Bars 71–75: Closing theme, E major

Signs & Terms

• Allegro moderato — moderately fast; ♩ = c. 76
• Turn (𝄲) — if accidentals required, indicated above/below sign
• Staccato (·) — detached; in later music the same dot sign means staccatissimo
• Triplet — three notes in the time of two
• Arpeggio — notes played one after another, ascending
• Dolce — sweetly; espressivo — expressively
• Double sharp (𝄪) — raises pitch by a whole tone
• Sextuplet — six demisemiquavers in the time of four
• Appoggiatura — played on the beat, reducing next note; if next note very short, may be played as acciaccatura
• Smorzando — dying away (becoming softer and slower)
• Tenuto (–) — held and slightly emphasised
• Fermata (𝄐) — hold for longer than written value
• Quasi cadenza — like a cadenza (free and unmeasured)
• Poco ritenuto — hold back the speed a little
• Adagio — slowly
• Lombardic rhythm (Scotch snap) — reverse dotted rhythm: demisemiquaver then dotted semiquaver

Classical Style Characteristics

The Fortepiano

• Composed 1773 — written for the fortepiano, the transitional instrument of the late 18th century
• Differences from the modern piano: wood frame (not iron), leather-covered hammers (not felt), ~5½ octave range, knee-operated damper pedal, lighter tone with less sustaining power
• The modern piano emerged in the 19th century with iron frame, felt hammers, 7+ octaves, overstrung bass, double-escapement action (Erard, 1821)

Title

• Hexentanz means witches' dance — frenzied, almost diabolical character suggesting wild dancing, broomstick riding, and the incantation of spells
• Second of MacDowell's Zwei Fantasiestücke (Two fantasy pieces), Op. 17 — composed 1884; the first piece is Erzählung (A tale)
• The title Fantasiestücke was common in the Romantic era, particularly associated with Schumann but also used by Brahms and Rachmaninoff; fantasy pieces depict imagination and usually contain a variety of keys, metres, tempos and moods
• The supernatural was a common Romantic inspiration — e.g. the Dream of a Witches' Sabbath from Berlioz's Symphonie Fantastique; Baba Yaga from Mussorgsky's Pictures at an Exhibition; Clara Wieck (Schumann) also wrote a piece sometimes called Hexentanz

Life & Career

• Born 1860 in New York; died 1908 in New York, aged 47
• Studied piano and composition in France and Germany; teachers included Joachim Raff, director of the Hoch Conservatory in Frankfurt
• 1882: performed his first Piano Concerto for Franz Liszt — Liszt became an enthusiastic supporter and helped get MacDowell's works published
• 1884: married; continued teaching privately in Germany but could not secure a permanent position
• 1888: moved to Boston; career as pianist, composer, teacher
• 1896: became the first professor of music at Columbia University; resigned abruptly in 1904 after conflict with officials
• Suffered from debilitating mental illness in final years; style often compared to Edvard Grieg; compositions feature descriptive or poetic titles

Major Compositions

• Piano: two concertos, four sonatas (Tragica, Eroica, Norse, Keltic), two Modern suites, sets of Etudes, Woodland sketches, Sea pieces, Fireside tales, New England idylls
• Orchestral: symphonic poems (Hamlet and Ophelia, Lancelot and Elaine, Lamia), two orchestral suites, Romance for cello and orchestra; many songs

Contemporaries

American: George Chadwick, Amy Beach. International: Tchaikovsky, Dvořák, Grieg, Elgar, Mahler, Sibelius, Granados, Rachmaninoff.

Formal Structure — Ternary (ABA) with Coda

• Section A (bars 1–84):
  • Bars 1–40 (First theme, Part I, B minor): continuous semiquaver pulse; right hand sequence descends from dominant to tonic; hemiola rhythm in bars 13–16 and 17–40; prominent dominant harmony creates restless energy
  • Bars 41–60 (First theme, Part II, leggierissimo): begins in E minor (subdominant); returns to B minor from bar 49; semiquaver pulse continues
  • Bars 61–84 (First theme, Part I, B minor): begins an octave higher; melodic variations from bar 65; V–i cadence bar 76–77; tonic chord prolonged and embellished bars 77–83
• Section B (bars 85–176):
  • Bars 85–116 (Second theme, G major): softer, more sustained melodic line; semiquavers continue in accompaniment in hemiola rhythm; tonic chord with added 6th; modulates to B major from bar 101
  • Bars 117–132: Second theme restated in G major, much louder and fuller
  • Bars 133–144: First theme interrupts in B minor (LH), with detached quaver countermelody in RH octaves
  • Bars 145–160: Second theme returns in G major; altered harmony from bar 157 (augmented 6th, secondary dominant 7th)
  • Bars 161–176 (Transition): prepares return to B minor; augmented 6th chords and chromatic scales in 3rds; each phrase returns to dominant note (fz in double octaves)
• Section A (bars 177–258):
  • Bars 177–204: First theme, Part I, B minor — similar to bars 1–40, slightly abridged
  • Bars 205–232: First theme, Part II — E minor then B minor; varied and extended from bar 217
  • Bars 233–252: Second theme returns in LH in B major; RH has ostinato accompaniment
  • Bars 253–258: Quasi recitative — mysterious chromatic harmony suggesting a spell incantation; leads to dominant 9th of B major
• Coda (bars 259–274), Prestissimo, B minor: Similar to transition; continually returns to tonic chord; very soft V⁷–i in bars 272–273

Signs & Terms

• Presto — very fast; Prestissimo — as fast as possible; Andante — easy walking pace
• leggiero — lightly; leggierissimo — very lightly; cantabile — in a singing style
• simile — similarly; sempre — always; poco a poco — little by little
• Duplet — two notes in the time of three
• forzando / sforzando — strong accent
• il basso non legato e molto leggiero — bass notes not connected and very light
• con 2 pedale — with the soft pedal; senza 2 pedale — without soft pedal; senza pedale — without sustaining pedal
• quasi trillo — like a trill; martellato — hammered
• rallentando al lento — gradually becoming slower until lento
• fff e marcatissimo — very loud and very marked
• dolce — sweetly; dolcissimo — very sweetly
• a piacere — at the performer's pleasure (freely)
• quasi recitativo — like a recitative (resembling speech patterns, somewhat free)
• Double sharp (𝄪) — raises pitch by a whole tone

Late Romantic Style Characteristics

Title

• Sacromonte (literally "sacred mountain") is a hilly neighbourhood in Granada, Andalusia, southern Spain — noted for its caves carved into soft earth and its large gypsy population
• This piece comes from Turina's first collection of Cinq danses gitanes (Five gypsy dances), Op. 55, published 1930; the other pieces are Zambra, Danza de la seducción, Danza ritual, and Generalife. A second set (Op. 84) was published 1934
• Turina described his intention (1936) to faithfully recreate the formulas of an authentic farruca — a gypsy-influenced flamenco dance traditionally performed by men
• The opening chords from the first piece in the set (Zambra) return in Sacro-monte

Life & Career

• Born 1882 in Seville; died 1949 in Madrid, aged 66
• Studied at the Madrid Conservatory; later studied in Paris with Vincent D'Indy (composition) and Moritz Moszkowski (piano)
• Early compositions in Romantic style, but like Albéniz and Falla, resolved to develop a more Nationalistic style; returned to Spain in 1914
• Worked as composer, conductor, teacher, and music critic; conductor for the Ballets Russes; choirmaster at the Teatro Real (Madrid Opera House)
• Symphonic poem La procesión del Rocío brought him to prominence as a composer in 1913; opera Jardín de oriente performed at the Teatro Real in 1923
• Taught composition at the Madrid Conservatory from 1930; music critic for El debate and Dígame

Major Compositions

• Piano: Danzas fantásticas, Sonata fantasía, Sonata romántica, two sets of Danzas gitanas, two sets of Cuentos de España, Niñerías, Mujeres Españolas, Evocaciones, Miniaturas, Preludios, Siluetas; Rapsodia sinfónica for piano and string orchestra
• Orchestral: Sinfonía sevillana, La procesión del Rocío; chamber: two piano trios, piano quartet, piano quintet; operas including Jardín de oriente; guitar pieces and songs

Contemporaries

Spanish: Isaac Albéniz, Enrique Granados, Manuel de Falla. International: Debussy, Paul Dukas, Alexander Scriabin, Maurice Ravel, Béla Bartók, Igor Stravinsky.

Tonality — The Spanish Phrygian Mode

• Uses the Phrygian mode with keynote A: A–B♭–C–D–E–F–G, with the 3rd note often raised to C♯ — sometimes called the "Spanish Phrygian", "Major Phrygian" or "Spanish Gypsy" scale
• The Phrygian mode is characterised by a minor 2nd between scale degrees 1 and 2 (A to B♭ here)
• The resulting tonality is similar to D harmonic minor, but A is given far more prominence than D (e.g. the final chord, main bass notes in outer sections)
• The use of both major and minor 3rd (C♯ and C♮) simultaneously is characteristic of Andalusian music

Formal Structure — Ternary (ABA) with Coda

• Note: the half-bar anacrusis is not numbered in formal analysis.
• Section A (bars 1–16), A Phrygian:
  • Bars 1–12 (Main theme): evokes flamenco rhythms and gestures — foot stamping, strummed chords, plucked single notes; three loud introductory chords include a whole-tone cluster (B♭–C–D–E) functioning as modal dominant 7th; main recurring progression alternates modal dominant 7th (E–B♭–D) and tonic (A–C♯–E); four-triad descending parallel progression (iv–III–II–I = D minor, C major, B♭ major, A major) in bar 3; semiquaver melody in bars 7–10 in quasi-improvisatory style; recurring eaex rhythm between hands
  • Bars 12–16 (Transition): similar rhythms and articulations to main theme; based around dominant 7th of G (D–F♯–A–C); keynote of D; detached parallel-motion chords allude to "barre" style guitar
• Section B (bars 17–24), G Phrygian:
  • Bars 17–22 (Episode, G Phrygian): uses both major and minor 3rds (B♮ and B♭); alternates tonic (G–B–D) and modal dominant 7th (D–F–A♭–C); new melodic motive in RH — short repeated notes followed by rising 4th; quasi-contrapuntal echo effects; extended semiquaver runs in quasi-improvisatory style
  • Bars 23–24 (Interlude, C Phrygian): concludes Section B; also completes a progression by 5ths in the main bass notes throughout the piece: A (Section A) → D (Transition) → G (Section B) → C (Interlude)
• Section A (bars 25–36), A Phrygian: Very similar to bars 1–10; semiquavers in bars 32–34 have chromatic inflections (A♭ instead of A) for colour without altering tonality; added rising bass line in bar 35
• Coda (bars 36–47), Più vivo, A Phrygian: Becoming more flamboyant in the manner of a flamenco dancer; harmonic progressions similar to bars 1–4 now in triplet rhythm; climax of pitch in bars 43–45 with parallel 4ths and 5ths in both hands; final fff tonic chord approached from note below (prolonged by trill) in bass

Signs & Terms

• Allegro moderato — moderately fast; ♩ = c. 100
• Tenuto (–) — held for as close to full value as possible, played with added weight
• simile — similarly (referring to articulation)
• sforzando — strong accent
• Più vivo — livelier (quicker)
• Triplet — three notes (or notes and rests) in the time of two
• sopra — above (LH passes over RH)
• Mezzo staccato — moderately short and detached

Spanish Nationalist Style Characteristics

Flamenco Background

• Spanish gypsies developed zambra — an energetic flamenco dance style performed barefoot, accompanied by guitar, hand castanets or finger cymbals, clapping (palmas) and singing
• Farruca — another gypsy-influenced flamenco dance, traditionally danced by men; Turina aimed to recreate this in Sacro-monte
• The piece evokes specific flamenco gestures: foot stamping (bar 1 chords), strummed chords, plucked single notes, improvised runs

Musical Periods Summary

• Romantic (c.1810–c.1900): Piano. Passionate and expressive; tempo rubato; thick textures and wide keyboard range; long lyrical melodies (cantabile); rich chromatic harmonies; modulations by 3rds; virtuosity; wide dynamic range. Composers: Mendelssohn, Schumann, Chopin, Liszt, Brahms, Tchaikovsky, Grieg, Albéniz.
• Classical (c.1750–c.1810): Fortepiano. Light, elegant and restrained; homophonic texture; short balanced phrases; diatonic harmonies (I, IV, V⁷); modulations up/down a 5th; clearly articulated; ornamentation. Composers: Haydn, Clementi, Mozart, Beethoven, Hummel, Schubert.
• Early 20th Century / Nationalism: A reaction to German Romanticism; composers drew on folk music, dance rhythms and modes of their home countries; Turina, Albéniz, Granados, Falla (Spain); Bartók, Kodály (Hungary); Sibelius (Finland).
• Baroque (c.1600–c.1750): Harpsichord and clavichord. Ornate; polyphonic texture; terraced dynamics; one mood per movement; hemiola before cadences. Composers: J.S. Bach, Handel, Scarlatti, Rameau, Couperin, Telemann.

Development of the Piano

• ~1700: Bartolomeo Cristofori, Florence — invented the piano (gravicembalo col piano e forte); escapement mechanism; 4–4½ octave range
• 1780s–1790s: Range increases to 5½ then 6 octaves
• 1820s: Metal frames begin to be used
• 1821: Double-escapement action patented by Sébastien Erard — easier and faster note repetition
• 1822: Range increases to 7 octaves
• 1826: Felt hammer covering patented by Henri Pape in Paris
• 1859: Overstringing patented by Henry Steinway Jr. — longer strings, richer tone, better resonance
• 1874: Sostenuto (selective sustain) pedal patented by Albert Steinway

Harpsichord vs. Fortepiano vs. Modern Piano

• Harpsichord (c.1400–1800): strings plucked; no dynamic variation from touch; up to 5 octaves; tone dies quickly; sometimes two manuals with stops
• Clavichord (c.1400–1800): strings struck by brass tangent; capable of some dynamic shading; Bebung vibrato possible; very soft tone — solo use only in small rooms; J.S. Bach's favourite
• Fortepiano (late 18th century): wood frame; leather-covered hammers; ~5½ octaves; knee-operated damper; lighter tone with less sustain — instrument of Haydn, Mozart, early Beethoven
• Modern piano (19th century onwards): iron frame; felt hammers; 7+ octaves; foot pedals; overstrung bass; capable of filling large concert halls

Form in Music

• Ternary (ABA): Three sections; A returns after contrasting B; both A sections end in tonic; B usually in different key. Used in: Jensen (Andante con sentimento), MacDowell (Hexentanz), Turina (Sacro-monte).
• Sonata form: Exposition (1st subject tonic, 2nd subject dominant/relative) → Development (themes reworked in various keys) → Recapitulation (all themes return in tonic). Used in: Haydn (Allegro moderato).
• Binary (AB): Two sections; A ends in dominant or relative major; B ends in tonic.
• Rondo (ABAC…A): Main theme returns multiple times in tonic, separated by contrasting episodes.

Key Harmonic Terms

• Appoggiatura: Non-harmonic note that resolves by step; always emphasised; expressive tension and release
• Hemiola: Change in rhythmic grouping, e.g. 6/8 felt as 3/4 — three crotchet beats instead of two dotted crotchets; used frequently in Hexentanz and Andante con sentimento
• Diminished 7th chord: Three superimposed minor 3rds; useful for drama/mystery and modulation (any note can be treated as a leading note)
• Dominant pedal: Sustained or repeated dominant note (usually in bass); creates tension and expectation for tonic return
• Tonic pedal: Sustained or repeated tonic note; confirms or reinforces the sense of key
• Augmented 6th chord: Chromatic chord containing augmented 6th above root; three types (Italian, French, German); contains a tritone that resolves outwards; usually precedes dominant chord
• Mediant modulation: Modulation by a 3rd (e.g. B minor to G major in Hexentanz) — characteristic of Romantic music
• Circle of 5ths: Progression of chords whose roots fall a 5th (or rise a 4th); gives strong harmonic direction; used in Sacro-monte bass notes (A → D → G → C)
• Secondary dominant: A chord that temporarily functions as the dominant of a chord other than the tonic; adds harmonic colour and direction