Omaha daily bee., 1911-02-05
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be desired When it Is made by a local
musician II is Of more than usual interest.
This analysis will be printed on Mr. Max
Landow's concert program, but The Bee
music column has msny-out-of-town read
ers who might like to have the following
interesting sketch which has been espe-
cialIy prepared b. Mr. slgmund Lands
berg. the well-known local musical au-
thority:
1-sonata "waldstein." opus g. com
posed in 1904 during the masters summer
sojourn in Doblin. Vienna suburb. It
is inscribed to and named after Count
waldstein a wealthy and influential art
lover at the Austrian court. Beethoven.
in the dedication OF such gigantic work
to the count gratefully acknowledged the /
manifold assistance and enthusiastic en-
couragement which he received at the /
hands Of waldstein. The sonata is a
tone-poem in the words truest meaning |
and is numbered among tine most brilliant |
works in all piano literature. Its peculiar |
introduction with its gradually rising first |
subject earned for it also the epithet
Aurora" suggestively indicating the dawn |
of a young day.
The second subject is replete with devout
sentiment and rich sounding inner modula-
ton, embelshed by many expressive ara
besques at its repetition. The coda of the
first section unfolds variegated life amidst
multi-colered chord figuration fun Of brill
lance and grace. In the Development
CSection, p matters begin to stir. The
rhythm gradually assumes a more lively
pace The condensed themstic material is
now striving toward the first big climax,
eliminating in an organ point OF ire
mendous effect. This leads straightways
into section 8, which, generally speaking,
is but repetition of section l. with slight
J modification OF contents. Especially inter-
esting is the appended coda. Its middle
part contains an inserted concert-cadence,
steadily rising with imposing brilisnce.
Dreamily and sweetly reminiscent the second
subject then again glides pass, returning to
the abbreviated first subject; once more
this grows in steady ascendance to an
other mighty Eff, bringing the first move
mcnt to a close In the subdominapt key
CT) amidst dramatic EXPLANATIONS, the
''Adagio- Motion" begins. A noble, most ex-
pressive song whose various sections are
Joined together by canonic interludes.
| Again we hear the dramatic EXPLANATIONS,
slightly varied in the bass, but coming to
no definite close; the listener is left in
doubt but q moment however, for,
through a most interesting moduatory tex
ture, a bridge is formed, amidst rich, rain
bow-hued chords, it leads at once into
movement g.
THE rondo." a lovely, simple song
theme, is introduced; it is accompanied
with ethereal softness by figurated chord
lace-work; with Beethovenish straightfor-
wardness It develops into a mighty climax;
a glittering trill entwines the principal mel
ody. which then leads straight into sec
ond subject in parallel minor A, returning,
however to the original song theme in due
form, proceeding as before. middle part
in C minor, full of grandeur and passion,
now appears. 1t develops amidst animated
modulatory changes and ingenious CONT
apuntal treatment into another volum-
hinous concert-cadence. Finally, this leads
back TO the primary rondo motifs mani
foldly embellished,A however An organ
point on the dominant q introduces final
''prestissimo-coda Exuberant joy seems
now to be the issued. In abbreviated note
values, fragments OF the first rondo sub
jects reappear. Through double counter
point flguration we are led into abyssmal
depths, only to be rising again to separate
heights. mighty and tremendously ef-
fective deceptive" close opens the way for
another cadence, in the course OF which
5 we are again brought back to the first
\ strain-FFF at first, It is repeated in an
echO-lke pianissimo later on, only to cul-
inmate finally in a grand climax Of ter
4 rifle dimensions. Powerfully suggestive
chord strokes then bring this glorious tone
poems to a fitting close"
THOMAS ]. KELLY.
4 4