the rough edges of the scherzos are of a completely diff

order from those of the impromptus, which flow along in a

more discursive way, with substantially softer outlines.
here, the metre is less regimented, encompassing the
motifs in a far less rigid way than is the case with the
scherzos. chopin is far too sensitively precise not to have
sought and found unique solutions in every area of music
on the basis of the disparate characteristics of these
various genres.

I am now pasting a summary of the questions I was asked

along with the pieces played:

Topics and questions discussed at my AMuA exam in

September 2009.

Kats-Chernin
(Russian Rag).

Personal history? What else did she write?

Influences, style of writing (Rachmaninov, Prokofiev,
Minimalist).
What is a Rag? What is Russian about this one?
Name other Australian composers. Was happy with 2,
though I could have reeled off up to 10.

Chopin
(Nocturne op 55 no 2).

How many nocturnes? What were the influences on

the nocturnes? (Wanted Field and Bellini-Bel Canto
style.) What else did he write? (Stopped me about
half way through the life’s works.) Focussed on
preludes: how many?
Discussed things in all keys with ref to the 48.
Difference in organisation between Chopin 24
Preludes and the Bach 48? (Cycle of fifths.)

Schubert
(Sonata in A, op 112, D 664, 1819.)

What are the forms of the 1st and 3rd movement?

Trace some keys in the sonata (1st
movement).Where is the 2nd subject. (1st
movement). Where does the bridge passage finish
and 2nd subject start?
I guided the conversation to Schubert’s position at
the close of the classical/start romantic and we
discussed that a bit.
What else did he write? (Piano and other.) How
many sonatas?

Bach
(Prelude and Fugue in F sharp, BWV 858 book 1 no 13.)

Mentioned tonal and asked what it means and whether this

fugue is tonal. (Yes.)
Explain why.
How can we tell where the opening of the fugue ends?
(Used a different word for opening that I had to have
explained.) Wanted answer that 3 parts each introduce the
subject in alternating key cycle, followed by first episode.
Discussed counter-subject a little. Discussed possible
interpretation of 2nd episode as 2nd CS.
What is meant by Klavier (in Bach’s 48)? What would
they have been played on?
What else did he write? What else (other than book
1) in the Coethen period?
Focus on instrumental music and difference from Weimar
and the demand for church music there. What did he write
in Leipzig? (Book 2 of 48, Mass and Passions—what are
they called?)
What enormous body of church music did he write?

shostakovich
The way how mr Ashkenazy understands the music and the sense of
feelings that Shostakovich could have gone through in Soviet Union
flows so purely out from this interpretation The desperate hunger
for freedom

At the same time -music as a beautiful and sacred place where

everybody is free and safe in the higher sphere than this material
militaristic and harrassing world These preludes and and fugues and
this interpretation are incredible