Clavier Companion - January/February 2012 - 33

initially revealed by the composer. When questioned about possible programmatic connections in the Etudes-Tableaux, Rachmaninoff replied, “I do not believe in the artist disclosing too much of the images. Let them [pianists, audiences] paint for themselves what it most suggests.”1 It was only after Ottorino Respighi orchestrated five of these pieces for the Boston Symphony Orchestra that Rachmaninoff supplied titles. In this virtuoso etude reminiscent of the demonic style of Liszt and Scriabin, there are many passages that suggest chase scenes. In the introduction, triplet chromatic scales heighten the sense of urgency (see Excerpt 5). These patterns reappear in the first section, along with broken chords. The opening melody of the second section recalls the “Dies Irae” theme (see Excerpt 6). After a repeat of the first section, the piece concludes with the chromatic passages from the introduction.
Excerpt 5: Rachmaninoff: “The Tale of Little Red Riding Hood and the Wolf,” from Etudes-Tableaux, Op. 39, No. 6, mm. 1-5.

Excerpt 7: Medtner: Four Tales, Op. 26, No. 3, mm. 1-6.

Heitor Villa-Lobos (1887-1959) launched the nationalist movement in Brazil, breaking away from European tradition. He described his prolific output as “the fruits of an extensive, generous, and warm land.”3 Many of his pieces are geared to children. One of the four pieces in his early intermediate Fairy Tales is “And the Little Princess Was Dancing.” Written in rondo form (ABACA) with eight-measure divisions, it employs a variety of touches to project images of a ballerina, beginning with staccato in its “A” section (see Excerpt 8).
Excerpt 8: Villa-Lobos: “And the Little Princess Was Dancing,” from Fairy Tales, mm. 1-4.

Excerpt 6: Rachmaninoff: “The Tale of Little Red Riding Hood and the Wolf,” from Etudes-Tableaux, Op. 39, No. 6, mm. 36-40.

Rachmaninoff exclaimed, after hearing a performance of Medtner’s Op. 51 Skazki (Russian fairy tales), “No one tells such tales as Kolya!”2 Indeed, Medtner is likely the foremost composer of fairy tales for the piano. His skazki are the most significant part of his output. They are neglected, however, dismissed by many as anachronisms, since his neo-romantic style did not embrace contemporary trends. His fairy tales have become better known through the recordings of Hamish Milne and Marc-André Hamelin. Medtner published approximately forty tales in thirteen opus numbers, including a Sonata-Skazka, Op. 25, No. 1. There is also a skazka without an opus number (between Op. 31 and Op. 34). His skazki include “Ophelia’s Song” and “March of the Paladin” from Two Tales, Op. 14; “Campanella” from Two Tales, Op. 20, No. 2; “Magic Violin,” Op. 34, No. 1; Op. 35, No. 4, prefaced by a quote from King Lear; “Tale of the Elves,” Op. 48, No. 2, and “Bird’s Tale,” “The Organ Grinder,” and “The Beggar” from Romantic Sketches for the Young, Op. 54. However, most of Medtner’s skazki do not contain programmatic associations. These pieces are characterized by intense harmony and complex polyrhythms. Most may be classified as moderately difficult to difficult. One of the easier and shorter pieces is the untitled No. 3 in F minor from Four Tales, Op. 26. It has a lyrical, narrative quality (narrante a piacere) and is in three-part form with coda (see Excerpt 7). The second half of the fourth measure from Excerpt 7 forms the basis of the coda.
JANUARY/FEBRUARY 2012 CLAVIER COMPANION

Clavier Companion - January/February 2012

Table of Contents for the Digital Edition of Clavier Companion - January/February 2012