Prelude and Fugue in B flat major, Opus 16 No 2 Early in 1845, Clara Schumann, along with her husband Robert,

embarked on a study of fugue and counterpoint. These three sets of preludes and fugues show to what great advantage she put her study of Bach and others. Haunting melodies, robust three and four voice fugues, sweeping arpeggios, and perpetual sixteenth-note motion are just a few of the characteristics youll find in this collection. 13 September 1819 20 May 1896 German musician composer and arranger

One of the most distinguished pianists of the Romantic era Not a well-known composer but a prodigious pianist Wrote music until reaching middle-age (36yrs): gradually lost confidence in her abilities to compose She and her husband (Robert Schumann) were great friends with Brahms

Prelude: Short piece of music Can be a stand-alone or can introduce another piece of music Typically consists of a few melodic and rhythmic motifs Improvisatory nature Schumann would have drawn upon Bachs popular prelude and fugue pairing

Fugue: -

Contrapuntal composition with 2+ voices (4) built on a subject This subject is introduced at the beginning in imitation (repetition at different pitches)
A fugue usually has three sections: an exposition, a development, and a recapitulation containing the return of the subject in the fugue's tonic key

Most fugues open with a short main theme, the subject,[9] which then sounds successively in each voice (after the first voice is finished stating the subject, a second voice repeats the subject at a different pitch, and other voices repeat in the same way); when each voice has entered, the exposition is complete.

This is often followed by a connecting passage, or episode, developed from previously heard material; further "entries" of the subject then are heard in related keys.

Episodes (if applicable) and entries are usually alternated until the "final entry" of the subject, by which point the music has returned to the opening key, or tonic

This is followed by closing material, the coda

Sonata in A minor Written in 1778 Mozarts mother had just died and his father blamed Mozart for her death Classical era (obviously)

3 movements Sonata form First movement is tumultuous and heavy unlike the light feel of his previous sonatas Theme 1 Phrase 1 Theme 1 Phrase 2 Transition Theme 2 Codetta First section Second section Third section Theme 1 Phrase 1 Theme 1 Phrase 2 Transition Theme 2 Codetta I-IV-V I-IV-V I-IV-V-I

Exposition

1-9 9-16 16-22 23-45 45-48 Development 50-58 58-70 70-79 Recapitulation 80-88 88-97 97-103 104-129 129-133

I IV (94-96) V I-IV-V-I

Op19 No 3 The Hunt Allegro molto e vivace in A major Part of the Songs without words No 3 Composed 1830 by Felix Mendelssohn Romantic Songs without words = short lyrical piano pieces