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What Is The Mood Of The Fugue By Robert Schumann

592 Words3 Pages

Johann Sebastian Bach is one of the most well-known and highly esteemed composers of the Baroque period and all time. He wrote sacred and secular work for choir, orchestra and solo instruments. During his lifetime, he was mostly known as a great a organist. His works are now considered some of the finest ever composed. Bach’s compositions are full of intricate counterpoint. He wrote 2 volumes of the Well -Tempered Clavier in which there fugue and prelude of every key. The prelude possess a feeling of levity. This result not solely because of its tempo marking, allegro, but also the fast appreciated lines in the major key that alternate between both hands. The fugue is in 3 voices. However the are a few sections with two voices. The motive …show more content…

His compositions were written exclusively for the piano until 1840. After a visit to Vienna, during which he discovered Franz Schubert's previously unknown Symphony No. 9 in C, in 1839 Schumann wrote Faschingsschwank aus Wien (Carnival Prank from Vienna). Most of the joke is in the central section of the first movement, in which a thinly veiled reference is made to "La Marseillaise" (the song had been banned in Vienna due to harsh memories of Napoleon's invasion). The festive mood does not preclude moments of melancholic introspection in the Intermezzo.
The third movement, Scherzino, is a playful and dance like tune as the title suggests. The syncopated rhythm, with a melody based almost entirely on notes of the major chord, maintains the levity through the movement. The only possible exception to this is the last run, with progression of octaves into a cadence.
The intermezzo marked Mit Größter Energie translates to “with great power” which is something it does require. The Intermezzo stands out namely due to its fast flowing middle voice. While the middle voice is fast, the melody in the top voice sings. The background notes are mostly suited to the shape and position of the hand, despite a few leaps of the melody; in the end, the left hand takes a modified, E-flat major version of the E-flat minor melody, under the right

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