LUDWIG VAN BEETHOVEN - Piano Sonata No. 8 in C minor, Op. 13 "Pathétique" (1798)

November 21, 2025 / Serene Yu

First edition cover of Beethoven's Sonata Pathétique, Op. 13, published by Eder

When Beethoven was in his early twenties, he had already spent a decade working as a court musician. Ambitious to establish himself not only as a piano virtuoso but also as a serious composer, he moved to Vienna in November 1792 to study composition with Haydn. Their lessons lasted only a year because of Haydn’s departure for London, a circumstance that deeply disappointed Beethoven. Even so, he quickly achieved what he desired: he built a formidable reputation both as a pianist and as a composer, and was soon welcomed into Vienna’s best aristocratic circles.

During his first decade in Vienna, Beethoven composed primarily for the pianoforte, the instrument he considered the most effective medium for expressing his musical ideas. Nearly two-thirds of his piano sonatas date from this period, including Sonata Pathétique, Op. 13. Although Mozart and Haydn had already cultivated the piano sonata extensively, Beethoven approached the genre with confidence that he could surpass them; therefore, his piano sonatas are much larger in scale, explore a wider emotional spectrum, and require more advanced technical mastery… [276 more words]

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tags / Beethoven Pathetique Sonata, Beethoven, Ludwig van Beethoven, Beethoven C minor works, Beethoven piano sonatas, Pathetique program notes, Beethoven Sonata Op. 13, Beethoven program notes, classical piano repertoire, piano sonata program notes, music history Beethoven, early Beethoven works, What is Beethoven's Pathetique about, Beethoven Pathetique historical background, Beethoven slow introductions sonata

JOHANN SEBASTIAN BACH - French Suite No. 5 in G, BWV 816 (1722-1724)

March 27, 2025 / Serene Yu

In addition to composing and performing, Bach was a sought-after and influential keyboard teacher. He was passionate about musical education; therefore, he composed works specifically for his pupils. According to Bach’s student Heinrich Gerber, the maestro used his Inventions, French Suites, English Suites, and the Well-Tempered Clavier to teach keyboard technique, improvisation, and composition to form a progressive course. Anna Magdalena Bach (née Wilcke), whom he married in late 1721, was the dedicatee of the first five French Suites. These suites, including French Suite No. 5 in G Major, BWV 816, form the opening items in Clavierbüchlein (1722) for AN Bach. Despite the nature as teaching tools, the degree of elaboration and emphasis on counterpoint of these suites go beyond those of other suites of Bach’s contemporaries… [334 more words]

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tags / French Suite, BWV 816, JS Bach, Johann Sebastian Bach, Bach, Harpsichord, Harpsichord music, Keyboard music, Keyboard, French Suite No. 5 in G, G major, Clavierbüchlein, Baroque, Baroque music, 18th century, Bach music, BACHannalia, Bach 340th

JOHANN SEBASTIAN BACH - Flute Sonata in B minor, BWV 1030 (1736-1737)

November 10, 2024 / Serene Yu

The trio sonata for two melody instruments and continuo arose in Italy in the 17th century and is considered one of the most important Baroque music genres. The basic idea behind trio sonatas is the rivalry between two upper voices of equal status, over a bass line that alternately supports those voices and actively participates in the musical argument. Bach created a modified version of the trio sonata which involves only two instruments: a melody instrument and an obbligato harpsichord. The latter is not merely a continuo instrument, but takes part in the performance of the obbligato treble voices or even contributes towards the entire three-part texture. Bach’s preferred melody instruments for partnering with the harpsichord include the violin, the viola da gamba, and the flute… [280 more words]

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tags / Bach, JS Bach, Johann Sebastian Bach, Flute, Flute and Piano, Piano, Flute Sonata, Flute Sonata in B Minor BWV 1030, Harpsichord, Baroque music, Baroque, 18th century, Classical music, Music, German music, Chamber music, Introduction, History, Historical instrument, Leipzig, Bach in Leipzig, Collegium Musicum, 1736, 1737, Transverse flute, Obbligato harpsichord, Continuo, Basso continuo

FRANZ SCHUBERT - Rondo in A Major, D. 951, Op. 107 (1828)

December 19, 2023 / Serene Yu

Schubert is unusual among great composers in having composed a great deal of piano duets that were mostly performed domestically. He had written them in various forms since his early teens until the final year of his life. During his time, especially his last years, there was an increase in families that could afford to buy pianos, motivating Schubert to write piano duets remarkable in quality and quantity. They form a significant part of the composer’s output and he wrote so many that he has long been recognised as a master of the form. Schubert performed piano duets in home concerts “Schubertiades” with friends and students including Countess Caroline Esterházy. His finest duets include Fantasy in F minor, D. 940, Allegro in A minor, D. 947 “Lebensstürme”, and Rondo in A major, D. 951, all created in 1828… [319 more words]

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tags / Schubert, Franz Schubert, Piano duet, Piano, Piano music, Four hands, 4-hand, Chamber music, Rondo, Grand Rondeau, 1828, Romantic period, Austrian composer, Program notes, Programme notes, Information, Background, History, Pianoforte, D. 951, Op. 107, A major, Introduction, Keyboard, Keyboard music, Music, nineteenth century, 19th century, 19C, 19C music

SIGISMOND THALBERG - L'art du chant appliqué au piano, Op. 70 No. 20: Voi Che Sapete from Mozart’s The Marriage of Figaro (1863)

June 13, 2023 / Serene Yu

Thalberg was one of the finest virtuoso pianist-composers of the mid-19th century. As a composer, he excelled in transcribing or reworking the works of other composers. His fantasias on well-known opera arias by Meyerbeer, Donizetti, Verdi, Weber, and Mozart were extensively performed by himself. It was his Fantasia on themes from Rossini’s Moïse, Op. 33 that brought him wide recognition because of the dazzling technique demanded. When composing piano music, Thalberg loved keeping the melodies in the centre of the keyboard and having them accompanied by fancy arpeggios and chords in registers above and below, creating the illusion of a third hand playing. Whenever Thalberg performed, the audience would stand up to observe his hands roaming from one end of the keyboard to the other… [253 more words]

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tags / Mozart, Wolfgang Amadeus Mozart, Thalberg, Sigismond Thalberg, Voi che sapete, The Marriage of Figaro, Le nozze di Figaro, Piano, Piano music, Piano transcription, Transcription, Arietta, L'art du chant appliqué au piano, Piano arrangement, Solo piano, Cherubino, Opera buffa, 1786, 1863

FELIX MENDELSSOHN - Rondo capriccioso, Op. 14 (1828-1830)

November 29, 2021 / Serene Yu

Mendelssohn was one of the most gifted and versatile prodigies. Fully developed before he was 20, his musical style drew on a variety of influences. His fascination with Bach’s counterpoint, and the clearly balanced themes with symmetrical phrase structures reminiscent of Mozart are evident in his piano works in the early 1820s. Later, starting around 1823, the influences of Beethoven and Weber began to emerge. The dramatic gestures of them have become noticeable since then.

Rondo capriccioso starts with a lyrical introduction then proceeds to the main section Presto leggiero. Mendelssohn interestingly composed this work in reversed order. The work was originally conceived in 1828 as an étude, comprising only the E-minor presto part in scherzo style. Later in 1830, he reworked it by adding the song-like expressive Andante introduction in major as a present for Delphine von Schauroth… [377 more words]

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tags / Program notes, Programme notes, Information, Introduction, History, Background, Felix Mendelssohn, Mendelssohn, Op 14, Andante, Presto leggiero, 1828, 1830, 19C, 19C music, 19th century, Romantic music, Romantic, Romantic period, Broadwood piano, Piano, Piano music, Historical instrument, Rondo capriccioso

GABRIEL FAURÉ - Dolly Suite, Op. 56 (1893-1896)

February 23, 2020 / Serene Yu

The 1890s marked a turning point in Fauré’s life and career. Early in the decade, the married man fell in love with Emma Bardac, occasioning so much inspiration in composing. The much loved Dolly was created during this period of time. Dedicated to Bardac’s cheerful daughter Hélène (nicknamed “Dolly”), the six pieces that make up the suite reflect Dolly’s development. First performed in 1898 by Alfred Cortot and Edouard Risler, this suite has long been one of the concert favourites. In response to its popularity, Cortot arranged it for solo piano in 1899, and Henri Rabaud orchestrated it in 1906. The orchestral version was even transformed into a ballet… [479 more words]

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tags / Program notes, Programme notes, Information, Introduction, History, Background, Gabriel Fauré, Fauré, Dolly Suite, Dolly, Suite, Op 56, 1893, 1896, 19C music, 19C, 19th century, Romantic period, Romantic music, Musique romantique, Emma Bardac, Hélène Bardac, 1890s, Piano, Piano music, Piano suite, Piano duet, 4-hand, Four hands, Alfred Cortot, Edouard Risler, Henri Rabaud, Berceuse, Mi-a-ou, Raoul, Le Jardin de Dolly, Kitty-Valse, Tendresse, Le Pas espagnol, French music, French, French composer, Français, Française, Musique française, Musique de piano

ENRIQUE GRANADOS - Goyescas: Los Requiebros (1909-1910)

February 07, 2020 / Serene Yu

Granados is best remembered for his piano suite Goyescas, inspired by Spanish artist Goya’s paintings of the majos and majas. The composer was first amazed by these artworks while visiting the Prado Museum in Madrid in 1896, and later aspired to depict in music the amorous adventures of the lower classes of Spanish society. With the success of this piano suite, Granados later turned it into an opera in 1915, creating the first operatic arrangement of a piano work in the whole history of music… [248 more words]

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tags / Enrique Granados, Granados, Spanish, Goyescas, Los Requiebros, Piano music, Piano suite, Goya, majo, maja, Prado Museum, 20C, 20C music, 20th century, 1909, 1910, 1900s, Introduction, Information, History, Background, Francisco Goya, Piano, Painting, Tirana del Tripili, Spanish music, Music, Romantic music, Classical music, Program notes, Programme notes

CLAUDE DEBUSSY - Petite Suite, L. 65 (1886-1889)

June 10, 2019 / Serene Yu

Debussy excelled at piano duet composition, often sketching symphonic works in a form for four hands. While some works remained in this preliminary state, some others were later orchestrated, just like Petite Suite. First performed by the composer and Jacques Durand in March 1889, this work was not exceptionally well-received by its first audience. Fortunately, it gradually gained more attention afterwards. In 1907, Henri Büsser, who was gifted in orchestration, arranged it for orchestra, further popularising the work… [201 more words]

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tags / En bateau, Cortège, Menuet, Ballet, Debussy, Claude Debussy, Achille-Claude Debussy, Petite Suite, L 65, 1886, 1889, 19th century, French music, French composer, Piano, Piano music, Information, Background, Introduction, Four hands, 4-hand, Piano duet, nineteenth century, Romantic period, Chamber music, Classical music, History, Keyboard, Keyboard music, Music, Fêtes galantes, Paul Verlaine

ROBERT SCHUMANN - Papillons, Op. 2 (1828 - 1831)

April 28, 2019 / Serene Yu

Schumann’s publications up to around 1840 were almost exclusively for the piano, and they include some of the most beloved piano music. Aside from the several large-scale keyboard compositions he composed, he is best remembered for his beautifully wrought character pieces. Such pieces are often portraits of friends, popular dances, mood pictures and psychological delineations, customarily grouped in colourfully named sets such as Papillons (Butterflies)… [471 more words]

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tags / Classical music, Flegeljahre, German music, History, Introduction, Information, Music, Op 2, Piano, Piano music, Romantic music, Romantic, Romantic period, Robert Schumann, Schumann, Papillons, Butterflies, 19th century, nineteenth century, Jean Paul, Programme notes, Program notes, Background, Jean Paul Richter, Character piece, Novel, Masked ball, Masquerade ball, Ball, Masquerade, Dances, Grossvatertanz

DMITRI SHOSTAKOVICH - Prelude and Fugue in A-flat Major, Op. 87 No. 17 (January 1951)

March 04, 2019 / Serene Yu

shostakovich prelude and fugue in a flat op 87 no 17.jpg

Shostakovich’s interest in preludes and fugues dates back to when he was one of the jury members of the Leipzig International Bach Competition 1950. Whilst there, Shostakovich became captivated by Well-Tempered Clavier Books I and II, especially Tatiana Nikolayeva’s interpretation. He was exceedingly impressed with her playing that upon his return to Moscow, he plunged into the composition of his own cycle of 24 Preludes and Fugues (Op. 87). During the four-month compositional process, he communicated with Nikolayeva daily and played the piece he had just written to her, developing an intimate friendship. With much of his music absorbed, she undertook the cycle’s public premiere in 1952 and has championed it ever since… [301 more words]

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tags / Programme notes, Program notes, 1951, 1950s, 20C music, 20C, 20th century, 87, 17, Russian, Dmitri Shostakovich, Shostakovich, Russian music, Russian composer, Borscht, Borsch, Borshch, Borsht, Борщ, Шостако́вич, Tatiana Nikolayeva, Nikolayeva, Russian pianist, Piano, Piano music, Prelude, Fugue, Prelude and Fugue, P&F, Op 87, No 15, Bach, JS Bach, Johann Sebastian Bach, Bach Competition, International Bach Competition, Leipzig, A-flat major, A flat major, Ab major, Ab, A flat, A-flat, History, Information, Introduction, Background

Joseph Haydn - Keyboard Sonata in C Minor, Hob. XVI: 20 (1771)

December 28, 2018 / Serene Yu

Many keyboard sonatas of Haydn were custom-made for the dedicatees, usually female students. This work is not an exception; it was dedicated to two of his talented students who owned excellent techniques - Katharina and Marianna von Auenbrugger. When composing this sonata, Haydn was mindful of their high abilities, it therefore presents considerable virtuosic demand. The work sounded very advanced to Haydn’s contemporaries, perhaps suggesting why he did not see fit to have it published until 1780, nearly ten years after the date that the autograph bears… [343 more words]

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tags / Programme notes, Program notes, History, Introduction, Information, Background, Classical music, Classical period, Classical sonata, Piano sonata, Keyboard sonata, Sonata, Keyboard music, Piano music, 18C, 18th century, 18C music, 1771, Haydn, Joseph Haydn, Fortepiano, Harpsichord, Clavichord, Harpsichord music, Fortepiano music, Clavichord music, Hob xvi 20

Percy Aldridge Grainger - British Folk-Music Settings No. 22 "Country Gardens" (1918)

December 19, 2018 / Serene Yu

Both photos taken by Serene at the Grainger Museum. RH: Grainger’s draft speech for introducing his performance of Country Gardens, c. 1937

Lionised as a pianist and feted as a composer, Grainger had written about ninety solo piano music. Among these works, one-third of them, including Country Gardens, are based on music composed by others. The Morris Dance tune that this piano setting is based on was provided by Cecil Sharp in 1908. Upon receiving it, Grainger roughly sketched it for two whistlers and a few instruments for accompaniment. It had not been worked out for piano until ten years later… [345 more words]

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tags / Information, History, Background, Programme notes, Program notes, Percy Grainger, Grainger, Percy Aldridge Grainger, Country Gardens, Australian composer, Australian, 20C, 20C music, 20th century, 1918, 1910s, Folk, Folk-music, Folk music, Folk-music setting, Folk-song, Cecil Sharp, Piano, Piano music, Band music, Wind band, BFMS, British Folk-Music Settings, Folk-song collector

Johann Sebastian Bach / Dame Myra Hess - Jesu, Joy of Man's Desiring (c. 1920s)

November 29, 2018 / Serene Yu

The original of this consoling piece is the last movement from Bach’s Cantata No. 147, Herz und Mund und Tat und Leben. The underlying chorale melody was extracted from Johann Schop’s Werde munter, mein Gemüthe (1642). Bach harmonised it for chorus, with trumpet doubling the melody, and strings, continuo as well as oboes accompanying… [135 more words]

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tags / Program notes, Information, History, Background, Programme notes, Piano music, Piano, Jesus bleibet meine Freude, Jesu joy of man's desiring, 147, Cantata 147, BWV 147, Chorale, Chorale prelude, Johann Sebastian Bach, JS Bach, Bach, Dame Myra Hess, Myra Hess, Arrangement, Transcription, 1920s, Baroque, Baroque music, Herz und Mund und Tat und Leben

Finn Viderø - Passacaglia for Orgel (1946)

November 21, 2018 / Serene Yu

During the interwar period, certain composers revived the Classical aesthetics to replace the exaggerated emotionalism and formlessness of the late Romantic era. Whilst they drew inspiration from music of earlier centuries, they often employed twentieth century tonal and rhythmic devices, resulting in the Neo-classicism. Some of these composers, such as Viderø, were found particularly influenced by Baroque traits; hence, their compositions are called neo-Baroque music… [126 more words]

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tags / Program notes, Organ, Organ music, Pipe organ, Music, Viderø, Videro, Finn Viderø, Finn Videro, 20th century, 20C, 20C music, Classical music, Danish composer, Danish, Information, Rare music, Rarity, Introduction, History, Background, 1946, Passacaglia, Neo-Baroque, Atonal, Programme notes

Sir Charles Villiers Stanford - Postlude in D Minor, Op. 105 No. 6 (1908)

August 25, 2018 / Serene Yu

St Mary's Anglican Church Kangaroo Point.JPG

Grew up in an environment surrounded by intellectuals such as ecclesiastical professionals, Stanford was devoted to the Anglican Church and wrote a substantial number of church music. Interestingly, he often wrote these music symphonically thanks to his proficiency in combining his skills in orchestrating and symphony writing. His talent had yielded movements of structural imagination and a symphonic thinking, particularly apparent in compositions written in his later years including this Postlude… [449 more words]

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Franz Liszt - Harmonies poétiques et religieuses, S. 173 No. 3: Bénédiction de Dieu dans la solitude (1847)

July 19, 2018 / Serene Yu

The close relationship between music and literature was a hallmark of the 19th century. A striking example is Liszt’s Bénédiction de Dieu dans la solitude, No. 3 of the piano cycle Harmonies poétiques et religieuses composed between 1847 and 1852. This cycle, which contains 10 pieces, bears the exact Alphonse de Lamartine literary title. Among these 10 works, four of them use titles directly from Lamartine, including Bénédiction de Dieu dans la solitude, the most expansive of the cycle… [377 more words]

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tags / Program notes, Programme notes, Piano, Music, Piano music, Liszt, Franz Liszt, Classical music, Romantic, Romantic music, 19th century, 19C music, 19C, Hungarian composer, History, Information, Introduction, Background, S 173, No 3, III, Blessing, God, Religious, Harmonies poétiques et religieuses, Benediction, Bénédiction

Johann Sebastian Bach - English Suite No. 5 in E Minor, BWV 810 (ca. 1715 - 1720)

May 09, 2018 / Serene Yu

Bach english suite no 5 in e minor bwv 810.jpg

Bach’s ability to combine French, Italian, and German essences in one composition is beautifully demonstrated in his six English Suites. The title is misleading as these suites do not display any English qualities. Johann Nikolaus Forkel, Bach’s first biographer, claimed that they were known by the name of the English Suites simply because Bach composed them for an Englishman of rank… [390 more words]

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tags / Program notes, Harpsichord, Piano, Harpsichord music, Piano music, Keyboard, Keyboard music, Bach, Johann Sebastian Bach, JS Bach, German music, Classical music, English Suite, E minor, BWV 810, Contrapuntal, Baroque, 18th century, 18C music, Englische Suiten, Cembalo, Baroque music, Prelude, Allemande, Courante, Sarabande, Passepied, Gigue, Programme notes, 810, 18C, Suite, Background, Introduction, Information, History

Béla Bartók - Fifteen Hungarian Peasant Songs, Sz. 71, BB 79 (1914 - 1918)

May 02, 2018 / Serene Yu

Bartok 15 hungarian peasant songs sz 71 bb 79.jpg

These fifteen songs are based on authentic folk tunes, but go beyond simple harmonisation in approach. To preserve the peasant songs’ original rustic ambience, Bartók remains faithful to the original song by refraining from adding any introductions or endings to these pieces despite their brevity… [171 more words]

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tags / Program notes, Piano, Music, Bartok, Hungarian music, Classical music, Peasant songs, Songs, 20th century, 20C music, Béla Bartók, Hungarian composer, Sz 71, Piano music, Folk melodies, Suite, Programme notes, 71, 20C, Background, History, Information, Introduction

César Franck - Prélude, Fugue et Variation, Op. 18 (1860-1862)

April 27, 2018 / Serene Yu

Cavaillé-Coll was a distinguished organ builder; he brought technical innovations into organ building and ultimately built nearly 500 pipe organs, including the three-manual organ at Basilique Ste-Clotilde where Franck was the Church Organist. Franck’s huge interest in exploring this organ had eventually inspired him to compose six pieces including Prélude, Fugue et Variation, Op. 18… [269 more words]

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tags / Program notes, Organ, Music, Franck, French music, Classical music, Prelude, Fugue, Variation, Romantic, 19th century, Pipe organ, 19C music, César Franck, French composer, Op 18, Musique d'orgue, orgue, Musique romantique, Romantic music, Programme notes, 18, 19C, History, Information, Introduction, Background