Beruflich Dokumente
Kultur Dokumente
and stands out as an early example of this remarkable composer finding his own unique
language. Indeed, the early works of Tcherepnin are admired and regarded as small "poems of
exceptional imagistic density and technical complexity" (Folkman, p.216). By definition the
Suite offers the composer a great diversity of choice in the genre and characteristics of each
piece, as exemplified in the Suites from the nineteenth century. Moreover, these works are
strongly connected with the development of program music. From the context of his
predecessors, Tcherepnin emerged to create pieces that are strikingly original in their figurative
The first approaches to the program suite genre may be seen in R. Schumanns piano
cycles such as Carnaval (1835), Fantasiestcke (1837), and Kinderszenen (1838). Examples of
orchestral program suites follow with Antar and Scheherezade by Rimsky-Korsakov. Further
Exhibition, Borodins Petite Suite in addition to the Petite Suite by Debussy, Tchaikovskys
Three Orchestral Suites, and Bizets Petite Suite for piano as well as his Children's Games for
orchestra. One can already recognize the undeniable contribution to the genre by the Russian
composers. Other examples of the 19th century dance suites stand out. These include the Suite
Algrienne by Saint-Saens and the Czech Suite by Dvok. Meanwhile, some composers sought
to rediscover old dance forms, with Debussys Suite Bergamasque (specifically the Minuet and
Passepied) and Ravels Le Tombeau de Couperin (Forlan, Rigaudon and Minuet) standing as
shining examples. The scope of the artistic possibilities of the suite is limited by its fundamental
functional principle (namely, a collection of pieces unified in their tonality), and at the same time
Paris on November 4, 1924, with the composer at the piano. The concert review states:
"Tcherepnin showed that he is not only a consummate, brilliant pianist but also one of the most
The pieces in his Suite have characteristic titles, each with a correspondingly rich and
imaginative musical content. The genre enables the composer to get close to musical life, to
directly capture the surrounding "artistic reality" and to then increase this aesthetic distance,
recreating the musical images of past epochs in their traditional genres or translating them in new
March
The genre of March that has developed in instrumental music is connected with the task
function, a distinguishing characteristic of the genre is the vigorous rhythm which has its roots in
drumrolls and fanfare signals. The clear rhythm and strict dimensions of pace typically do not
change throughout the composition. The music often displays a vigorous, active and even
courageous character. With the first piece in his Petite Suite, Tcherepnin upholds the celebratory
and energetic spirit of the genre. It is assertive and active in its abundance of triplets and wide
registration contrasts. The March is composed in a simple ABA form with the middle part
developing the material of the first part. Meanwhile, the meter is very colorful and unusual for
6/8 time signatures, the composer adds certain instability to the first two measures by choosing a
meter of five beats per measure. This lends the impression that the composer is searching to
establish the genre of the piece, but in m.3 the time signature of 4/2 takes hold, providing a
stabilizing influence. Tcherepnin gives prominence to this through the dotted rhythms,
syncopation, and contrasts between short staccato notes and legato playing.
Two simultaneous themes are present. The first theme in the upper voice is at the interval
of a third, with the notes D and F# repeated many times. The rhythm is in constant flux: quarter,
then triplet eighths, tied notes, then single "jogging" melodies for two sixteenth notes, and a
dotted quarter. At the end of the third bar the interval between themes changes into a second,
then into unison. The second theme develops in parallel in the lower register and is also doubled,
but in the interval of a tenth and later a sixth. It is based on the scale wave movement in a stable
sequence of quarter notes. The second theme in mm.4-6 is based on ascending scalar movement
which conquers the higher registers. In m.7 the melodic material is absorbed by F# octaves with
an energetic, repeated rhythmic pattern. This gives the effect of percussion instruments in a
processional March, which is then furiously interrupted by E-Major (as a secondary dominant in
D-Major) and c#-minor chords in a very low register. With the subsequent chord of F#-Major the
composer borrows from the relative key of b-minor; as Tcherepnin himself stated, in his early
compositions he was attracted with experiments between major and minor tonalities.
The first theme returns in m.12 in a 5/2 time signature and repeats the opening material.
However the character of the March is now more mysterious and discreet, in a piano dynamic
which is in contrast with the bravura forte of the beginning. In m.14 the 4/2 meter is again re-
established. The chordal melody in the upper voices is based on the rhythm of the beginning
section, accompanied by eighth-note repeated material in the bass. The composer takes the
melodic element and leaves only rhythmic chords descending to the lowest registers, lending a
dark, intense effect. The composer plays with the use of the b-minor Augmented French chord
The March started unstable rhythmically and ended in the very low register with
dynamics of three piano. Syncopation and the darker colors of the lower register create a mood
of anticipation. Throughout the piece, while one can observe interesting use of chromaticism and
novel combinations of harmonies, the piece is harmonically very simple. A very interesting
harmonic effect is achieved by using G# on the second beat that forms a chord of II9, and later
G. The composer is plays with the colors of the key of D major as set against the relative key of
b minor.
Mm.3-4 are based on an ascending D-Major scale in the bass line. The melodic material is
characteristic of the March genre, using such techniques as widely used triadic movement,
fanfare intonations, bright jumps from I to V, and repeated notes. Overall, the piece comprises a
The next piece of the cycle is the Song Without Words, or Chant sans Paroles. Songs without
words is an instrumental genre, typically for the piano, and characterized by a lyrical content in
which a melody and accompaniment are clearly separated. One of the distinctive features lies in
the genres close connection with vocal music. Mendelssohn was the first to move into the
emotional immediacy, accessibility, and lyrical sound of the piano music. Tcherepnin chooses
the genre of Waltz within which to set this Song Without Words. It possesses a clear texture of
the melody with accompaniment, and features highly dramatic dynamic contrast between the
sections. While the first and second are lyrical and in piano and pianissimo dynamic ranges, the
The melody is simple and charming. From the first chord the listener's attention is drawn
to the harmonic richness of this piece. The first chord (G-B-D-F#-A) is a major pentachord that
gives an improvisational, perhaps slightly unstable, feeling. In the second measure, the chord of
A Major with an added F# similarly evades any impression of the tonic being established. Only
in m.3 does Tcherepnin give a clear b-minor chord, followed by an A-Major chord with F#. The
second phrase is harmonically repeated and leads to pentatonic chords (a-b-c-e; d-e-f-a; d-e-a-b)
chords which are described by the composer in his book dedicated to his own technique -
followed by three seventh chords. Tcherepnin uses pentatonic scales as a base for his
compositional technique:
An ascending passage of thirty-second notes based on a II7 chord leads to a chordal cadence in
the higher register with sf markings: MM7 chord on the VI scale degree followed by a V9 chord
and III53 (f#-minor). The resolution to f#-minor comes across as sudden and unpredictable. For
the performer, it may be beneficial to listen carefully to the bass line of this first section as it has
a Waltz accompaniment in the "wrong" order: a tenuto note in the small octave on the strong
beat, followed by intervals and a lower register bass note on the second beat. This is in contrast
to the classic waltz accompaniment, wherein the lowest bass note is on the first beat of the
measure. This particular order gives a feeling of competition between the strong and weak beats.
The second theme is a Georgian melody derived from the oriental romantic genre.
Russian composers based many chamber and vocal works on oriental themes, which warrants
special artistic and musicological attention. The theme is reminiscent of the poem by Pushkin,
"Do not sing to me, my beauty", as set to vocal music by such composers as Glinka, Balakirev,
Rimsky-Korsakov and Rachmaninoff. The early years spent in Tiflis, Georgia, had a formative
influence on the works of the composer, serving to deepen his interest in folkloric music from
Steeped in the tradition of Mighty Five, Tcherepnin could not avoid turning to folklore
[He was] occupied with folklore and consider the folkloric cure to be the best
important for a composer as the study of the human body is for an artist.
The capricious and arabesque melody is based on appoggiaturas and upper and lower neighbor
tones.
The texture is divided into three layers: ostinato D note in the bass; chromatically moving
harmonies G#-A-A#-B in the middle voice; and an improvisational melodic line encompassed
within a small range in the top line. The chord progression is based on the use of the harmony in
hard intervals, also interpreted as Georgian harmony as characterized by the composer in a
description of his compositional technique. "Fundamental Georgian triad and its inversions":
(Korabelnikova , p203)
An analysis of the four-note chords shows their origins in characteristically Georgian triads:
Another line is found in the bass which traces a whole tone descending scale (G#-F#-E-D), not
supernatural characters in his operas. In mm.24-31 the same melody is transposed to the middle
All the while, the harmonic progression is based on inversions of Georgian triads.
The melody itself is motivically similar to the Rachmaninoff romance "Do not sing to me, my
The middle section conveys basic stylistic features typical of oriental music. The texture
rhythmic accompaniment in the bass, sliding chromatic shifts in the middle voice, and a
pronounced rhythmic improvisation with a gradual expansion of the range of the melodic line. A
small recitative leads to the recapitulation of the first Waltz theme, the first eight measures of
which repeat the opening measures of the Song. A new development section appears with
modulation to the key of f#-minor. In m.53, triplet motion in the middle voice begins to create a
An octave doubling of the bass line thickens the texture, and an intense, fortissimo repetition of
two chords resolves to an f#-minor triad. The rich chordal progression, full of chromatic
alterations, leads to a modulation to f#-minor. It begins with the chord G-B-E#, which may be
interpreted as the subdominant of b minor with a raised Tonic note, or alternately as an inversion
are major and minor sevenths and seconds, also perfect and augmented fourths and perfect and
These chords prepare for the modulation to f#-minor, and the C#9 chord in m.50 provides a very
rich sonority. The song ends with a dramatic tremolo in the low register, with a sforzando on the
last chord, evincing a striking and effective conclusion for a comparatively miniature piece. The
melody of the small pesante coda hearkens back to the melody found in the middle section with
It should not go unnoticed that both of the first pieces in the cycle have familiar tonal
development in their respective keys of D-Major and b-minor, and both conclude with f#-minor
Berceuse
The genre of the third piece is characterized by a calm, slow motion and repetitions of the
rhythmic figures. Typically in 6/8 time, the Berceuse emerged as a romantic character piece in
the 19th century piano literature, with flexible forms ranging from simple, ingenuous miniatures
to a free fantasy with a poeticized program. Perhaps the most outstanding example from the
piano canon is that by Chopin, whose Berceuse Op. 57 features a richly colored melody with
ornamental patterns over a left-hand ostinato with flowing repetitions of harmonies and rhythms.
Other notable examples for the piano were composed by Brahms, Grieg, Liszt, Saint-Saens,
Reger, Debussy, Balakirev, Rubinstein, Tchaikovsky and Arensky. Tcherepnin uses the effect of
ostinato bass throughout the piece as a poetic element, clearly drawing inspiration from Chopin
while never losing the aspects of folklore. The melody, in F#-Major and 5/8 meter, is simple,
with a lyrical, lullaby quality, coupled with a transparent and elegant sonority.
The first period of eight measures is repeated twice with a Tonic-Dominant harmonic
progression over an F# ostinato in the bass. Tcherepnin uses a pentatonic scale as the basis for
the opening material. The next section begins in the low register, mysterious and reserved
character in a pianissimo dynamic. The melody is doubled in octaves, similar to the beginning
and consisting of the same rhythmic organization of a dotted quarter-note and quarter-note.
Meanwhile the left-hand rhythmic grouping is different from the right-hand, with two eighth-
is maintained as the key changes to d#-minor. During the next four measures the descending
movement proceeds from A# of the small octave to A# of the great octave, through the scale of
d#-minor. This leads to the culmination, the meter having changed to 6/8 and the widespread
registration now spanning the entire keyboard. Tcherepnin has maintained the ostinato bass
throughout the piece, and here the A# chord functions as a Dominant. A descending scale in the
middle voice leads a new fanfare theme, which begins in m.32 in the middle voice. The music
grows even more passionate and agitated. In this episode the key of E-Major as a lowered II
degree appears, giving way to the Dominant chord of A#-Major in preparation for a strong
cadence in the Tonic of D#, making for a highly dramatic and tragic climax. Indeed, the wide
Following this cadence the first theme returns, this time in the key of d#-minor. The
hushed dynamics create a nostalgic and sorrowful character. The structure of the repeated period
is similar to the beginning, but features a small additional segment where the accompaniment is
the same but the rhythmic structure of the melody has changed. The melody alternates between
the two notes of D# as Tonic and A# as Dominant, with eighth-note rests giving an effect of
The small coda is rhythmically stable, and is based on cadential material. It ends on the
B-Major MM-seventh chord stands as a question mark in its harmonic instability (i.e. VI7 in the
key of d#-minor). After that the meter reverts to 5/8, and two hushed chords in a high register
provide a sudden contrast: the chord of F#-Major serves as a remembrance of the beginning of
The Scherzo as a genre has an active, bustling character, often quick and lively. In the
Romantic period it developed into an independent piece, as opposed to forming part of a larger
sonata or symphony. The first examples of this by Schubert are close to the genre of Capriccio,
while Chopin took the interpretation in new directions, with dramatic and often gloomy episodes
alternating with lighter, lyrical sections. Other notable composers like R. Schumann, Brahms,
Balakirev and Tchaikovsky also wrote Scherzi for the piano. In Tcherepnins writing he creates
many different shades of musical humor, conveyed by a set of techniques which allow the
transfer of such ideas: jocular transfusions of motifs, which were change registers or even
instruments; various surprises, when ordinary phenomena are presented in an unusual, strange
The structure of the Scherzo consists of several episodes like a kaleidoscope. The
sections change like a sequence of live images, small musical sketches with constant eighth-note
movement throughout the piece. It begins with an active leap on an interval of the fourth, and a
climbing melody in b-minor from the small octave to the second octave. This is followed by a
humorous dialogue between altered secondary dominant chords and the single note B:
This leads to an insistent repeated chord in the high register and descending movement on an
interval of the fifth from the third octave to small octave. The phrase concludes with the same
The next section is based on the registral dialogue between two contrasting phrases.
Repetitive structures of two measures switch among different registers. The comic effect is
reminiscent of the keyboard works of Scarlatti and Viennese classicism. Tcherepnin employs
"game figures" such as dialogue intonations, repeated patterns, sharpened strokes, accents, all of
which contribute to an atmosphere of humorous confusion. The material in the lower register is
repeated without change three times, based on the same secondary dominant chord of G-B-D#-
E# and the tonic chord of b-minor. The first answer in the third octave is in the key of b-minor
with the repeating notes F# and B. The second response modulates to the relative D-Major
through the presence of D and A. The third response introduces the tritone interval of A and D,
introducing an element of tension. The addition of B prepares the next section via the dominant-
seventh chord of E-Major. The third section begins in the key of E-Major, with the theme built
In m. 31 E is enharmonically changed to D#, ushering the key change back to b-minor. A more
condensed texture characterizes this episode, the voicing building up from one note and bringing
in polyphonic elements with chromatic chords, forming picturesque and unusual harmonies with
intervals of seconds. Tcherepnin uses the mM-seventh chord of the subdominant (i.e. E-G-B-
D#). The culmination of the episode falls into repeated accented notes in the high register, with sf
The next phrase is a repetition of the previous phrase, first a half step lower beginning on
D and introducing A, G and D. Later the German 6th (based on the lowered 6th scale degree
final section alternately considered as a small coda. The structure may also be viewed as a
ternary A-B-A, wherein the formerly smaller episodes are subsumed within larger sections: a
and b become the exposition A; c-d-c-d comprise the developing section B, and a-b-a form the
recapitulation A with a small coda based on the material of the opening section. Yet another
analysis perceives an overall binary form AB:BA, wherein the mirrored repeat concludes the
piece in the key of b-minor. The harmonic language reminds one of the writing of Prokofiev,
Badinage
The following miniature of the cycle continues the prevailing mood of persiflage and
raillery. French and German composers in the 18th century used the badinage as a genre as part
of instrumental suites, very close in temperament to the scherzo. The Valse from Lyadovs The
Music Box, Op. 32 is subtitled Valse-Badinage, while in his Op. 3 Prokofiev inserted a Badinage
as a joke piece. Tcherepnin's composition is very much in line with the spirit of the genre,
stemming no less from the harmonic language at the outset. The key is written in the key of b-
minor, but the initial f#-minor chord would seem to establish this as a main key. Similarly, F#
provides a basso ostinato through the first two measures. In terms of texture, the second phrase in
mm.2-3 has unbroken eighth-note movement in the RH, while leaps on the intervals of the fourth
and sixth carve out a broken melody in the LH. The sudden appearance of E# as a secondary
The next section begins very quietly, leveraging wider registration as it develops to a
MajorF#-Major) over a ostinato B in the bass. In m.7 a very simple melody built on the
interval of a third appears. A colorful final chord with E and E# simultaneously prepares us for
the return of the first theme, with E# signaling the dominant of f#-minor, the key which will
Humoresque
As its name implies, the last piece in the cycle is largely of a humorous nature. Or, at
least, sections of it are thus tempered. The title Humoresque was first used by R. Schumann in
1839 for his Op. 20 composition. His interpretation proceeds from an understanding of the term
in the spirit of Jean Paul Richter, who viewed humor as a successful combination of dreaminess
and jokes. Schumanns work is an unfolding play consisting of a series of lyrical and scherzo-
like episodes. While many later composers of the 19th century would use the term to designate a
separate piece as well as a series of small pieces, their interpretation of the genre was decidedly
different from that of Schumann. The Humoresque, Op. 6 (1865) by Grieg, comprising four
Dvoaks 8 Humoresques, Op. 101 (1894) for the piano is largely lyrical in nature. In Russian
piano music the Humoresque is of a bright, almost dance-like temperament. Such are the
Humoresques by Tchaikovsky (No. 2 from Two Pieces, Op. 10, 1872), Rachmaninoff (No. 5
from his Morceaux de Salon, Op.10, 1894). It is in the vein of the Russian composers that
Tcherepnin continues, with his Humoresque of a scherzo-like character manifesting many fast
tempi, an abundance of staccati, free changes of musical themes, all of which introduce the
The overall structure of the Humoresque may be seen as A-B-C-A-B. Written in the
key of D-Major, it is filled with peculiar and striking chromatic harmonies. The sixteenth-note
movement on the interval of a second stays provides an almost omnipresent pulse throughout the
piece, and lends a buzzing effect. The piece begins with the a measured trill in sixteenth-notes,
oscillating quickly between D-E. The melody appears in m.3 with the same sixteenth-notes as
accompaniment. The theme consists of two intervals of a third, slurred and with a teasing
character and a leap to the small octave tonic of D. The next sixteenth-note movement heads in
the opposite direction and very quickly conquers a large range. It is based on an F#-Major triad
with upper neighbor notes. F#-Major appears here as a dominant to the relative minor key. The
melodic structure of the thirds and bass note is repeated here but with an A# that prepares for a
modulation to the parallel minor. In mm.23-25 the listener can hear an ascending b-minor scale
The next section is based on the melody playing the notes of a b-minor triad in the RH
and a buzzing second based on the notes G#-A. The second sentence repeats the same material a
whole tone higher forming c#-minor triad in the RH. A dialogue between two phrases
commences in m.36. The first phrase, two measures long, is a sixteenth-note movement on the
interval of a second. The response is an ascending movement based on the pentatonic scale of C
Major, which repeats without any changes in mm.40-43. In m.44 both phrases shorten to only
one measure, further fragmenting in mm.48-49 to motifs. The composer thus creates a sense of
acceleration, agitating the music through motivic development. The closing part of the middle
section is based on a thicker, chordal texture. The chord progression forms pentatonic motion on
The next section is presents opening material once again. The same theme of the interval
of thirds is used, this time in a forte dynamic, and with a bright and solemn temperament. In
mm.67-69 the previous chordal progression from the middle section (F#-Major G-Major)
returns and provides a transition between the sections. In m.78 the second theme returns, based
on b-minor triad movement followed by sixteenth-note descending movement to the third octave.
A small coda is re-establishes the key of D-Major key, in which the piece will conclude.
Prelude Nostalgic
A significant amount of piano pieces composed by Russian composers in XIX and XX centuries
are cycles of program pieces and preludes. Over the past two centuries more than five hundred
works of this kind have been created. Since the appearance of early piano cycles in Russian
first half of the XIX century), these multi-part forms begin to develop quite actively. In the
composition techniques and characteristic was developing. The gradual opening by the
and images in programmed pieces and preludes led to the appearance in them of the qualities
necessary for the embodiment of a multifaceted picture of the world in their phenomena.
Throughout the twentieth century, in the cycles of program pieces and preludes, very significant
processes took place, as a result of which the image field significantly expanded, the original
properties of architectonics, the musical language, associated with the general tendencies of time
were revealed. In the opuses of S. Rachmaninov, R. Gliere, up to the cycles of B. Goltz and A.
Chugaev, the traditional structure is filled with fresh colors. The discovery of new possibilities
for the genre and instrument is happening in the miniatures. The listener can witness a steady
expansion of the imaginary sphere in the cycles of different composers. A huge way has passed
Constant expansion of the genre capacity could explain such an interest in the genre of prelude.
As a result, significant layers of folk, national and international traditions of music were
assimilated. As a result, significant layers of folk, household, academic (different epochs) music
were assimilated. As a result, significant layers of folk, salon music, academic (different epochs)
Tcherepnin wrote several cycles of preludes during his life: Eighth Preludes op.9, Four Nostalgic
Four Nostalgic Preludes were composed in 1922 during his stay in Paris, and premiered by
composer in 1924. The Preludes are really miniatures, very short pieces with the very precise and
distinguished character kept throughout the length of the piece. During that time he already
established his own style of writing, "his artistic individuality was already sharply
defined".(compendium p.15) Tcherepnin towards that period already created his theoretical
system of using a nine step scale. Tcherepnin described it by himself in his Autobiography:
"Since my early youth I had the tendency and the urge to combine major and minor chords. Only
a major minor tetra/chord gave me the sensation of finality and of stability. Then gradually I
extended the 11/2 tone 1/2 row further to reach the octave. By adding ascending hexachord with
the descending one I found the nine-step scale which evidently guided me instinctively before I
started to theorize it (the first appearance of the nine step scale is in Romantic sonatine op. 4
composed in 1918, while the conscious theorisation of it came only in 1922 after the theorisation
The Preludes are really miniatures, very short pieces with the very precise and distinguished
character kept throughout the length of the piece. The first Prelude is in Tempo Lento. The
melody is in the third octave and very free and recitative like full of languor, delicacy and
sophistication. The texture is constructed in three layers: melody, bass line and middle voice line.
The melody is based on the interval of fifth from F to B flat with an improvisational figuration
between and lower neighbor tone at the end. It is clear establishing the key of B flat major with
the support of the bass line going from B flat to F as a Dominant and back to B flat:
According to Arias, "Tcherpnin does not limit his compositions exclusively to nine-step
scale.Rather there is a mixture of scale forms, tonal and nine-step, modality, pentatonicizm, and
linear arrangements that grow out of the individual nature of the composition." This
combinational tonality could be found in the First Prelude. The melody and bass are clearly
representing B Flat Major, but if to look to the note content of the first and second measure, we