Capriccio in F major, HWV 481
George Frideric Handel (1685–1759)
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Catalogue
HWV = Handel Werke-Verzeichnis (genre-based numbering)
Form
Ritornello form within broad Ternary (Da capo)
Character
Capriccio = lively, playful, somewhat unpredictable
Instrument
Written for harpsichord
Structure — Ritornello within Ternary
| Section | Bars | Description |
|---|---|---|
| A — Ritornello | 1–37 | F major; ritornello stated → modulates C major (dom., b.10) → episode (b.23–28) → B♭ major (subdominant, b.28–32) → return to F major (b.31). Cadences decorated with trills. |
| B — Episodes | 38–73 | Material from ritornello transposed: G minor (b.38), A minor (b.47), D minor/relative minor (b.56), C major (b.65). Each passage is a transposition of b.28–37. |
| A — Da capo | 1–37 | Full repeat of Section A; begins and ends in F major. |
Ritornello Detail (Section A)
- b.1–3: Ritornello in F major; lively/playful; melody mostly in upper voice; LH provides counterpoint; gradual rhythmic momentum (frequency of semiquavers)
- b.4–8: Continuous semiquaver flow; RH melody has "broken" upper and lower voices (common Baroque technique); lower voice moves in 10ths with bass; hands reverse in b.5 = invertible counterpoint
- b.8–11: Modulates to C major (dominant); V–I cadence with trill in b.10–11; opening phrase partially returns in bass
- b.12–23: Ritornello restated in C major; dominant pedal (b.19–20); sequence in b.21–22; V–I cadence with trill confirms C major
- b.23–28: Episode in F major; sequences (b.24–25, 26–27); imitative dialogue between hands; passing hints of B♭, C, D minor
- b.28–32: Second part of ritornello in B♭ major (subdominant); transposition of b.4–6 up a 4th; key returns to F major at b.31
- b.33–37: Opening ritornello returns in LH (b.33–34) beneath RH trill; complete 3-bar phrase in RH (b.35–37); V–I cadence in F major
Baroque Characteristics
Ritornello form
Invertible counterpoint
Imitation between hands
Sequences
Constant rhythmic pulse
Ornamentation (trills, mordents)
Modulations to related keys
Long phrases
Monothematic
Harpsichord idiom
Key Facts to Know
- Handel born Saxony 1685 — same year as J.S. Bach and Domenico Scarlatti
- Father was a surgeon; received training from Friedrich Zachow; studied law at Halle briefly before pursuing music
- Travelled widely to Hamburg, Florence, Venice, Naples; lived in Italy 1706–1710; became Kapellmeister to Elector of Hanover
- Elector became King George I of England 1714 — Handel was already in London; became English citizen; composer for Chapel Royal
- When operas fell out of fashion, he turned to oratorios; eyesight failed in final years; died London 1759 aged 74
- Style = synthesis of French stateliness, Italian melodic invention, German counterpoint
- HWV (Handel Werke-Verzeichnis) = catalogue arranged by genre. Handel composed two keyboard capriccios.
- Written for harpsichord — strings plucked, no dynamic variation by touch, no sustaining pedal
- Major works: operas (Rinaldo, Giulio Cesare, Alcina, Serse), oratorios (Messiah, Israel in Egypt, Judas Maccabaeus), Water Music, Royal Fireworks Music, concerti grossi
- Harpsichord works: preludes, fugues, airs, capriccios, suites, sonatas
Sonata in E♭ major, K. 282
Wolfgang Amadeus Mozart (1756–1791)
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🏛 Classical
Composed
1775, Munich
Movements
3: Adagio · Minuet & Trio · Allegro
Unusual feature
Only Mozart sonata beginning with a slow movement
Instrument
Written for fortepiano
Movement I — Binary/Modified Sonata Form, E♭ major, Adagio
| Section | Bars | Description |
|---|---|---|
| Section A | 1–15 | Themes introduced in tonic and dominant keys. 1st Subject (b.1–8): E♭ major → ends on V of B♭ minor. 2nd Subject (b.9–15): all B♭ major (dominant). |
| Section B | 16–36 | All themes restated in tonic key. 1st Subject (b.16–26): begins dominant, returns tonic b.22, tonic minor b.25. 2nd Subject (b.27–33): now tonic key. Coda (b.34–36): reminder of 1st subject. |
Movement II — Minuet and Trio Form, B♭ major
| Dance | Form | Description |
|---|---|---|
| Menuetto I | Rounded Binary | A (b.1–12): B♭ → F major (dominant); perfect cadences b.8–9, 11–12. B (b.13–32): F major → returns to B♭ by b.18; opening theme returns (slightly altered); perfect cadence b.31–32. |
| Menuetto II | Sonata Form | Exposition (b.33–48): E♭ major → B♭ major. Dev. (b.49–56): E♭ maj, dominant pedal; E♭ minor. Recap (b.57–72): first subj. as before; 2nd subj. transposed down 5th to E♭. |
Movement III — Sonata Form, E♭ major, Allegro
| Section | Bars | Description |
|---|---|---|
| Exposition | 1–39 | 1st Subject (b.1–8) E♭ maj → Transition (b.9–15) → 2nd Subject (b.16–39) B♭ major |
| Development | 40–61 | 1st Subject developed: F minor (b.40–43) → E♭ major (b.44–47) → B♭ minor (b.48–54) → C minor (b.55–61) |
| Recapitulation | 62–102 | All themes return in E♭ major; transition stays in tonic; 2nd Subject now in tonic |
Classical Characteristics
Light, elegant, homophonic
Balanced phrases
Alberti bass
Modulation to closely related keys
Formal structure emphasis
Thematic development
Ornamentation (appoggiaturas, trills)
Key Facts to Know
- Born Salzburg 1756; prodigy on piano and violin; composing from age 5; first tour age 6
- "Grand Tour" 1763–66: most European musical centres; met J.C. Bach in London — key influence
- Entered Archbishop's service 1769; treated poorly; left 1781; settled in Vienna
- Met Haydn, Clementi, Salieri in Vienna; married Constanze Weber 1782; appointed Kammermusicus by Emperor Joseph II 1787
- Died Vienna 1791 aged 35; health and finances always insecure
- K. 282 = unique among 18 piano sonatas for beginning with slow movement (Adagio); composed Munich 1775
- Written for fortepiano — lighter tone, smaller range (~5½ octaves), wooden frame, leather hammers
- Piano works: 27 Concertos, 18 Sonatas, 16 Sets of Variations, 6 Fantasies
- Other works: 16 operas (Marriage of Figaro, Don Giovanni, The Magic Flute), Requiem, 41 symphonies, 25 string quartets, 35 violin sonatas, Clarinet Quintet
Wedding Day at Troldhaugen, Op. 65 No. 6
Edvard Grieg (1843–1907)
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🌲 Romantic / Nationalist
Composed
1892 (25th wedding anniversary)
Published
Lyric Pieces, Book 8 (Op. 65)
Key / Form
D major · Ternary (ABA) with Coda
Troldhaugen
Grieg's country villa near Bergen; now museum/concert venue
Structure
| Section | Bars | Description |
|---|---|---|
| A | 1–56 | Main theme D major; LH = perfect 5ths (folk/rustic character). Brief modulation A major (b.5–6). Rich 6th, 7th, 9th chords; suspensions. Repeated softer/higher (b.11–20). Fragments → augmented triads → C major, E♭ major (b.21–31). Rising 4-note motive: A♭, D♭, E♭ majors with 9th and 11th chords (b.32–48). Main theme ff (b.49–56). |
| B | 57–106 | Tranquillo: G major (subdominant); cantando melody; imitation between hands; tonic/dominant drone (b.57–63); 7th chords. Then B major (b.75–82) with secondary dominant harmony; transposition to G major (b.83–90). Reprise of b.59–74 with hand crossing (b.91–106). |
| A | 107–162 | Full reprise of b.1–56; begins and ends in D major. |
| Coda | 163–179 | D major; tonic/dominant pedal LH; main theme with 9ths, suspensions/appoggiaturas. Ends: soft series of perfect 5ths (b.174–178) then loud tonic chord. |
Romantic / Nationalist Characteristics
Personal, expressive style
Lyrical melodies
Rich 7th, 9th, 11th chords
Modulations by 3rds
Unexpected key relationships
Wide dynamic range
Soft pedal & sustaining pedal
Parallel 5ths (folk character)
Augmented triads
Norwegian folk influence
Modal flavour
Suspensions
Pedal points (drone)
Key Facts to Know
- Born Bergen 1843; died 1907; first internationally recognised Norwegian composer
- Mother (fine pianist) was first teacher; studied Leipzig Conservatory (Schumann/Mendelssohn influence); composition with Carl Reinecke
- Copenhagen: influenced by Niels Gade and Norwegian nationalist Rikard Nordraak
- Married cousin Nina Hagerup — authoritative performer of his songs
- Met Liszt in Rome (1865–70) — Liszt was impressed by his Piano Concerto
- Annual government stipend from 1874; spent summers at Troldhaugen from 1885; buried there
- Lyric Pieces = 10 books, 66 short character pieces (Op. 12–71), composed 1867–1901. Wedding Day is Op. 65 No. 6, composed 1892 for 25th anniversary.
- Style: personal/expressive + Norwegian folk influence; later became increasingly impressionistic
- Grieg's use of parallel 5ths, pedal points, and 7th/9th chords anticipates Impressionism
- Major works: Piano Concerto in A minor, Peer Gynt (incidental music), Holberg Suite, Norwegian folk dances, songs
- Piano works: Humoresker, Sonata in E minor, 10 sets of Lyric Pieces
Rêverie
Claude Debussy (1862–1918)
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🎨 Late Romantic / Pre-Impressionist
Composed
1890 — an early work
Meaning
Rêverie = Dreaming or Daydreaming
Key / Form
F major · Ternary (ABA)
Style note
Late Romantic with impressionist foreshadowings; not fully impressionist
Structure
| Section | Bars | Description |
|---|---|---|
| A — Intro | 1–2 | LH ostinato (softly flowing quavers); subdominant pedal in bass; tonic note absent yet |
| A — Main theme | 3–34 | F major; meandering melody; fluid rhythm (3 against 4 cross rhythm b.5); slow harmonic change; movement by 5ths in bass (b.11–18 = D-G-C-F, A-D-G-C). B♭ major b.19–26 (subdominant); C major b.27–34 (dominant); whole-tone chord (G-A-C♯-F) in b.27, 29 |
| A — Secondary theme | 35–58 | G minor (espress.); augmented chord (b.41–42) returns to F major; diminished 7th b.45; V7–I cadence b.48–49. Closing theme (b.51–58): chordal texture; A minor → F major → E major |
| B — Episode | 59–75 | E major; dominant pedal; 3rd degree flattened b.65–68 = half-diminished 7th chord. C major b.69–75; melody in LH; dominant pedal RH; V7–I7 (b.72–73); flattened 7th (B♭) prepares return to F |
| A — Return | 76–101 | Main theme returns; hand crossing; 7th degree flattened (E♭) b.88–91 = B♭ major or Mixolydian mode. Closing theme: D minor → F major (b.99). |
Pre-Impressionist Features in Rêverie
Ethereal texture
Generally soft dynamics
Supple rhythms
Cross rhythms (3 against 4)
Ties across strong beats
Frequent 7th & 9th chords
Pedal points
Modality (Mixolydian)
Whole-tone chord
Parallel 5ths in bass
Slow harmonic change
LH ostinato
Key Facts to Know
- Born St-Germain-en-Laye 1862; studied Paris Conservatoire; won Prix de Rome 1885 (studied Rome 1885–87)
- Bayreuth Festival 1888–89: briefly fascinated by Wagner, then utterly rejected his approach
- Heard Javanese gamelan music at Universal Exposition Paris 1889 — lasting influence
- Music critic for La revue blanche and Gil Blas; awarded Légion d'honneur 1903; developed cancer; died Paris 1918 aged 55
- Rêverie (1890) is an early work — Late Romantic in style with impressionist foreshadowings; full impressionist style had not yet emerged
- Style linked to Impressionist painters (Monet, Manet, Renoir, Degas) and Symbolist writers (Verlaine, Mallarmé)
- Debussy objected to "impressionist" label; Oscar Thompson defined it as art that "suggest[s] rather than depict[s]"
- Major piano works: Rêverie, Deux arabesques, Suite bergamasque, Estampes, Images, Children's Corner, Préludes (2 books), Études
- Other works: opera Pelléas et Mélisande, Prélude à l'après-midi d'un faune, La mer, string quartet, violin sonata, cello sonata
- Contemporaries: Ravel, Fauré, Satie, Chausson, Delius, Skryabin, Vaughan Williams
Valse Capricieuse
Frank Bridge (1879–1941)
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🌙 Late Romantic
Key / Form
G minor · Ternary (ABA) + Coda
Title meaning
Valse = waltz (graceful, triple time); Capricieuse = capricious, unpredictable
Nationality
English composer
Connections
Student of Stanford; teacher of Britten
Structure
| Section | Bars | Description |
|---|---|---|
| A1 | 1–16 | Two 8-bar phrases, all G minor. b.1–8: bass descends in semitones; colourful harmony with added 6ths & 7ths; ends on augmented 6th chord. b.9–16: chromatic bass descent; Neapolitan 6th chord (b.13–15); perfect cadence. |
| B | 17–44 | b.17–26: G minor → E♭ major (b.21); dominant pedal (b.22–26); ends on dom. 7th of E♭. b.27–30: dom. 7th (B♭-D-F-A♭) rewritten as German aug. 6th (B♭-D-F-G♯) → D major perfect cadence. b.31–40: similar but in A♭ major. b.41–44: (E♭-G-B♭-D♭) rewritten as German aug. 6th (E♭-G-B♭-C♯) → G minor imperfect cadence. |
| A2 | 45–70 | b.45–52: G minor as before. b.53–70: begins as before then modulates A♭ major (b.57–60), A major (b.61–64), B♭ major (b.65–69) → dominant 7th of G minor. |
| Coda | 71–75 | G minor; tonic pedal; fragments of main theme; chromatic scale runs. |
Special Harmonic Features
- Augmented 6th chord (b.8): Colourful chromatic chord; creates rich sense of direction toward the dominant. Appears at end of first phrase.
- Neapolitan 6th chord (b.13–15): Built on flattened 2nd of G minor = A♭ major chord in 1st inversion; adds harmonic richness; leads to dominant.
- German augmented 6th → enharmonic reinterpretation (b.26–27 and b.40–41): The dominant 7th chord is respelt as a German aug. 6th to pivot into a new key. This is a chromatic modulation device.
Late Romantic Characteristics
Colourful chromatic harmony
Added 6ths & 7ths in chords
Neapolitan 6th chord
German augmented 6th chord
Chromatic bass lines
Rhythmic freedom & rubato
Lyrical melodies
Simple ABA formal structure
Wide modulations (by 3rds: G min → E♭, A♭)
Waltz style (triple time)
Key Facts to Know
- Frank Bridge: English composer 1879–1941; student of Stanford at Royal College of Music; teacher of Benjamin Britten
- Output: orchestral suites, symphonic poems, chamber music, Phantasm for piano and orchestra
- Early style influenced by Bax and Delius (late Romantic with some impressionism); later works became more chromatic and contrapuntal
- Valse Capricieuse is a late Romantic piece — typical in its lyrical melodies, colourful harmony, and simple ABA form
- German augmented 6th trick: a dominant 7th chord is enharmonically rewritten as a German aug. 6th to pivot to a distant key (e.g. b.26–27: B♭ dom. 7th → German aug. 6th resolves to D major)
- Neapolitan 6th (b.13–15): A♭ major chord (first inversion) in G minor = chromatic chord on ♭II; leads toward the dominant
Exam Preparation Checklist
CMus Diploma discussion topics
- I can discuss the title, key, catalogue number of each piece and what the title means
- I know if other composers have written pieces with the same title
- I can describe each piece's formal structure in ~5 sentences
- I know all signs and terms used in each score
- I know the life of each composer — training, positions, key events, places
- I can list 6+ piano works by each composer
- I know each composer's significant non-piano works
- I can explain the stylistic characteristics of each piece
- I know the musical period for each piece and its characteristics
- I can explain what makes each piece different from the others
- I know what instrument each piece was written for (Handel = harpsichord; Mozart = fortepiano)
- I can explain the differences between harpsichord, fortepiano, and modern piano
- I can explain WHY unusual chords were used (not just name them)
- I know the birth/death dates of all four composers
- I know approximately when each piece was composed
- I can point to examples on the score to illustrate my answers
Piano History — Key Points for Your Pieces
💡 For Handel — Capriccio HWV 481
Written for harpsichord. Strings are plucked by a plectrum — the force of the keypress has no bearing on volume, so no dynamic shading by touch is possible. No sustaining pedal (tone dies away rapidly). Articulation and arpeggiation were used for accentuation. Some harpsichords had two manuals and stops. The virginal and spinet were relatives.
💡 For Mozart — K. 282
Written for fortepiano (1775). Differences from modern piano: wooden frame (not iron), ~5½ octave range, leather hammers (not felt), no overstringing, knee-operated sustaining pedal. Lighter, thinner tone with less sustaining power than the modern piano.
💡 For Grieg & Bridge — Romantic/Modern Piano
Both pieces written for the modern pianoforte — which had been essentially complete since the mid-19th century. Iron frame, 7-octave range, felt hammers, overstrung bass strings, double-escapement action, foot pedals. Capable of filling large concert halls. The sustaining pedal is essential to the Romantic style of both pieces.
Piano Development Timeline
- ~1400–1800: Harpsichord in use (strings plucked); compass up to 5 octaves
- ~1400–1800: Clavichord in use (strings struck by tangent); capable of dynamic shading but very soft tone
- 1700: Cristofori invents the piano in Florence ("gravicembalo col piano e forte")
- 1780s: Range expands to 5½ octaves; fortepiano replaces harpsichord
- 1820s: Metal frames begin to be used
- 1821: Double-escapement action (Sébastien Erard) — rapid note repetition
- 1822: Range reaches 7 octaves
- 1826: Felt hammer coverings (Henri Pape)
- 1859: Overstringing (Henry Steinway Jr.) — longer, richer bass strings
- 1874: Sostenuto (selective sustain) pedal (Albert Steinway)
Exam Discussion Tips
- Give extended answers — not just one or two words. Always elaborate.
- Use your own words to show you understand, not just memorised facts
- Always point to the score — use bar references and show examples
- When naming a special chord, also explain why it was used (effect, direction, colour)
- Neapolitan 6th and Augmented 6th chords → both lead to the dominant → both give strong harmonic direction
- Diminished 7th chords → drama and mystery
- Dominant pedal points → excitement and expectation
- Suspensions → expressive tension and release
- Know at least 6 piano works by each composer
- Practise discussing each piece's form in ~5 sentences — record yourself
- Bar numbers? Don't memorise — just show on the score
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Baroque Period
Instruments: Harpsichord, Clavichord · Forms: Binary, Ternary, Ritornello, Fugue, Suite, Dance Suite
One main mood, one main theme, one main rhythmic pattern throughout (monothematic)
Constant rhythmic pulse; long phrases with few internal cadence points
Counterpoint and imitation frequently used; both hands often equal importance; polyphonic texture
Ornamentation common (trills begin on upper note); performers add ornaments at cadences and repeats
Clearly articulated sound; detached notes; no sustaining pedal; dynamics often "terraced"
Modulations to closely related keys (typically 5th up/down); minor keys often end with Tierce de Picardie
Sequences common; Hemiola before important cadences
Your piece: Handel's Capriccio HWV 481 — ritornello form, invertible counterpoint, sequences, imitation, modulations to C major (dom.), B♭ major (subdom.), G/A/D minor (B section)
Composers: Handel, J.S. Bach, Telemann, Rameau, Scarlatti, Couperin, Purcell, Vivaldi
🏛 Classical c.1750–c.1810
Classical Period
Instruments: Fortepiano · Forms: Sonata, Rondo, Minuet & Trio, Theme & Variations
Light, elegant, restrained; homophonic texture — one clear melody with subordinate accompaniment
Short, balanced phrases; motives based on scales or broken chords; can be developed
Steady pulse; discreet rubato only in slow movements; moderate dynamics (no extremes)
Mostly diatonic harmonies; modulations to closely related keys; Alberti bass accompaniment
Ornamentation common at cadences (trills begin on upper note); clearly articulated sound
Your piece: Mozart K. 282 — elegant, homophonic; three movements; Adagio is unique (slow first movement); Minuet & Trio with two contrasting menuettos; sonata form movements; ornamentation (appoggiaturas, trills, arpeggios)
Composers: Haydn, Mozart, Clementi, Beethoven, Hummel, Schubert
🌹 Romantic c.1810–c.1900
Romantic Period
Instruments: Pianoforte (developing) · Forms: Ternary, Through-composed, Character pieces
Passionate and expressive; sense of spontaneity and personal involvement; rubato essential
Thick texture: large chords, widely-spaced accompaniments, wide keyboard range; pedal essential
Wide dynamic range; detailed expressive instructions; long lyrical phrases with warm cantabile tone
Rich chromatic harmony; many 7th and 9th chords; modulations by 3rds (not just 5ths)
Expressive dissonance (appoggiaturas, suspensions) creates sense of yearning
Nationalistic elements in some works; virtuosity often important
Your pieces: Grieg = Nationalist/Romantic; rich 7th, 9th, 11th chords; modulations by 3rds; parallel 5ths; folk character. Bridge = Late Romantic; chromatic harmony; augmented 6ths; Neapolitan 6th; German aug. 6th used for enharmonic modulations
Composers: Chopin, Liszt, Schumann, Mendelssohn, Brahms, Grieg, Tchaikovsky, Albéniz, Bridge
🎨 Impressionist / Late Romantic c.1890–c.1918
Impressionist Style (Debussy's mature works)
Note: Rêverie (1890) is Late Romantic with impressionist foreshadowings — not fully impressionist
Delicate and misty; suggests rather than depicts; interested in perception not portrayal
Supple rhythms; no strong regular accent; vagueness of formal outline and harmony
Light, ethereal texture; generally soft dynamics; sustaining pedal essential; una corda often used
No dominant-tonic cadences; chords used for sonority not function; unresolved dissonances
Modal, whole-tone and pentatonic scales; bitonality; parallel chords including consecutive 5ths
7th and 9th chords in parallel; added 2nds or 6ths; unrelated triads juxtaposed; pedal points
Rêverie foreshadowings: ethereal texture, soft dynamics, cross rhythms (3 against 4), 7th/9th chords, pedal points, modality (Mixolydian b.88–91), whole-tone chord (b.27, 29), parallel 5ths in bass
Composers: Debussy, Ravel, Delius, Scott