Capriccio in F major, HWV 481
George Frideric Handel (1685–1759)
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Catalogue
HWV = Handel Werke-Verzeichnis (genre-based)
Form
Ritornello within broad Ternary (Da capo)
Character
Lively, playful, somewhat unpredictable
Instrument
Written for harpsichord
Structure
| Section | Bars | Keys / Description |
|---|---|---|
| A — Ritornello | 1–37 | F major → C major (dom., b.10, V–I trill) → episode (b.23–28, sequences, imitative dialogue) → B♭ major (subdom., b.28) → F major (b.31–37, V–I) |
| B — Episodes | 38–73 | Ritornello material transposed: G minor (b.38), A minor (b.47), D minor/relative minor (b.56), C major (b.65) |
| A — Da capo | 1–37 | Full repeat; begins and ends in F major |
Baroque Characteristics
Ritornello formInvertible counterpointImitation between handsSequencesConstant rhythmic pulseTrills at cadencesModulations by 5thLong phrasesMonothematicHarpsichord idiom
Key Facts
- Born Saxony 1685 — same year as J.S. Bach and Domenico Scarlatti; father was a surgeon; trained by Friedrich Zachow
- Travelled to Hamburg, Florence, Venice, Naples; lived in Italy 1706–1710; became Kapellmeister to Elector of Hanover
- Elector became King George I of England 1714 while Handel was already in London; settled permanently in England; became English citizen; composer for Chapel Royal
- Turned to oratorios when operas fell from fashion; eyesight failed; 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. Bach and Scarlatti also wrote capriccios.
- Written for harpsichord — strings plucked, no dynamic variation by touch, no sustaining pedal
- Harpsichord works: preludes, fugues, airs, capriccios, suites, sonatas
- Other major works: operas (Rinaldo, Giulio Cesare, Alcina, Serse); oratorios (Messiah, Israel in Egypt, Judas Maccabaeus); Water Music; Royal Fireworks Music; concerti grossi; Chandos Anthems
Sonata in G major, Op. 79
Ludwig van Beethoven (1770–1827)
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🏛 Late Classical / Early Romantic
Composed
1809
Movements
3: Presto alla tedesca · Andante · Vivace
Nickname
"Sonatine" — shorter and lighter than most Beethoven sonatas
Instrument
Written for fortepiano (developing toward modern piano)
Movement I — Sonata Form, G major, Presto alla tedesca
| Section | Bars | Description |
|---|---|---|
| EXPOSITION | ||
| 1st Subject | 1–8 | G major; tonic pedal (repeated Gs in bass) |
| Transition | 8–23 | G major → A major ("dominant of the dominant") by b.20 |
| 2nd Subject | 24–46 | D major (dominant); hints of A major; dim. 7th chords (b.37, b.41); V7–I confirms D major (b.45–46) |
| Closing theme | 46–51 | D major → G major (b.49) → E major (2nd time bar) |
| DEVELOPMENT | ||
| Ländler passages | 52–122 | E major (b.52) → C major (p, dolce, b.66) → C minor (b.82) → E♭ major (b.90) → D major (b.111). Syncopated accents; "Ländler" character (German dance: simple crotchet/quaver rhythms, tonic/dominant 7th harmonies). Ends with dominant/dom. 7th of G (b.119–122). |
| RECAPITULATION | ||
| All in G major | 123–201 | 1st subject (b.123) → transition (b.130) → 2nd subject now in G (b.146) → closing theme (b.168) → Coda (b.176–201, based on 1st subject) |
Movement II — Ternary (ABA) + Coda, G minor, Andante
| Section | Bars | Description |
|---|---|---|
| A | 1–9 | G minor; melody in 3rds/6ths; 1st phrase → B♭ major (relative major, V7–I). 2nd phrase: two 2-bar subphrases, B♭ major → V7–i G minor. Transition (b.9): G minor tonic triad notes (G-B♭) reinterpreted as notes of E♭ major triad |
| B | 10–21 | E♭ major; single-line melody with quavers/semiquavers; ornaments; expressive dissonance (appoggiatura F♯ in b.12). V7–vi (b.15), V7–I (b.16–17). Codetta (b.17–21): tonic pedal; tonic triad of E♭ becomes German aug. 6th (E♭-G-B♭-C♯) → dominant of G minor (b.21) |
| A + Coda | 22–34 | A (b.22–29): G minor as before. Coda (b.30–34): theme in octaves over semiquaver accompaniment; V7–VI (b.32); theme fragmented; V7–i |
Movement III — Rondo (ABACA), G major, Vivace
| Section | Bars | Description |
|---|---|---|
| A (theme) | 1–16 | Binary substructure (both repeated): G major → D major (dominant, b.6) → returns G major (b.15) |
| B (Ep. 1) | 17–34 | E minor (relative minor); tonic pedal (b.18–20); ends dominant (b.24). Transition (b.25–34): improvisatory; main theme rhythmic motif; unharmonised; returns to G major |
| A | 35–50 | No repeats; new triplet LH accompaniment; G major → D major as before |
| C (Ep. 2) | 51–71 | C major (subdominant); briefly F major (b.55–56, 63–64); V7–I (b.65–66). Transition (b.67–71): main theme rhythm; C → A minor → G major |
| A + Coda | 72–117 | Semiquaver accompaniment; varied repeats; broken octave outline (b.80–87); extended 2nd section (b.96–113). Coda (b.113–117): tonic harmony; V–I |
Style Notes
- Presto alla tedesca = very fast, in the style of a German dance (Ländler). The development has the gentle, rustic character of a Ländler (dotted rhythms, simple harmonies, p dolce markings)
- Modulations by 3rds in the development (G major → E major → C major/minor → E♭ major → G minor) are early Romantic features, unusual for Classical period music
- The German augmented 6th in the 2nd movement (E♭-G-B♭-C♯) pivots to the dominant of G minor — a sophisticated chromatic device
- The piece is sometimes called "Sonatine" because it is lighter and shorter than Beethoven's major sonatas
Classical Characteristics
Sonata form (Mov. I)Rondo form (Mov. III)Short balanced phrasesHomophonic textureThematic developmentModulations to related keysClearly articulated soundDiminished 7th chordsModulations by 3rds (early Romantic)German aug. 6th (Mov. II)
Key Facts
- Born Bonn 1770; studied violin/piano with father (tenor to Elector of Cologne); composition with Neefe; became court harpsichordist age 13
- Visited Vienna age 17, met Mozart; settled permanently Vienna 1792; studied with Haydn, then Albrechtsberger
- Supported by aristocrats — Count Waldstein, Baron van Swieten, Prince Lichnowsky; first major composer to live without court patronage
- Began noticing deafness in early 30s; "Heiligenstadt Testament" 1802 (document of despair); totally deaf by 1824; continued composing until final months of life; died Vienna 1827 aged 56
- Music forms link between Classical and Romantic; expressed ideals of the French Revolution; most important musical influence on 19th-century composers
- Three compositional periods: early (Classical style, light/witty like Haydn); middle (larger scale, harmonic innovation — from Op. 31 and "Eroica"); late (five final sonatas, five final quartets — most profound works)
- Op. 79 (1809) = middle period; titled "Sonatine" — shorter and lighter than Op. 31, Pathétique, Waldstein, Appassionata
- Piano works: 32 sonatas (Pathétique, Moonlight, Waldstein, Appassionata, Emperor Concerto), 26 Bagatelles (incl. Für Elise), Diabelli Variations, 5 piano concertos
- Other major works: 9 symphonies (Eroica, Pastoral, Choral), Violin Concerto, Fidelio, Missa solemnis, 16 string quartets
Rêverie
Claude Debussy (1862–1918)
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🎨 Late Romantic / Pre-Impressionist
Composed
1890 — an early work
Title
Rêverie = Dreaming / Daydreaming
Key / Form
F major · Ternary (ABA)
Style
Late Romantic with impressionist foreshadowings
Structure
| Section | Bars | Description |
|---|---|---|
| A intro | 1–2 | LH ostinato (flowing quavers); subdominant pedal; tonic note absent |
| A main theme | 3–34 | F major; meandering melody; 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 | 35–58 | G minor (espress.); augmented chord (b.41–42) → F major; dim. 7th (b.45); V7–I (b.48–49). Closing theme (b.51–58): chordal, A minor → F major → E major |
| B episode | 59–75 | E major; dominant pedal; 3rd degree flattened b.65–68 = half-dim. 7th chord (C♯-E-G♮-B). C major (b.69–75); melody in LH; dominant pedal RH; flattened 7th (B♭) prepares return to F |
| A return | 76–101 | Main theme; hand crossing; 7th degree flattened (E♭) b.88–91 = Mixolydian mode. Closing theme: D minor → F major (b.99) |
Pre-Impressionist Features
Ethereal textureSoft dynamicsLH ostinato3-against-4 cross rhythmTies across strong beats7th & 9th chordsPedal pointsModality (Mixolydian b.88)Whole-tone chord (b.27, 29)Parallel 5ths in bassSlow harmonic change
Key Facts
- Born St-Germain-en-Laye 1862; studied Paris Conservatoire; won Prix de Rome 1885; studied Rome 1885–87
- Bayreuth 1888–89: initially fascinated by Wagner, then utterly rejected his approach
- Heard Javanese gamelan music at Universal Exposition Paris 1889 — enduring influence on his use of scales and texture
- Music critic for La revue blanche and Gil Blas; awarded Légion d'honneur 1903; died Paris 1918 aged 55 (cancer)
- Rêverie (1890) = early, Late Romantic work — his full impressionist style had not yet emerged; foreshadows impressionism
- Style linked to Impressionist painters (Monet, Manet, Renoir, Degas) and Symbolist writers (Verlaine, Mallarmé)
- Objected to "impressionist" label; Oscar Thompson: art "suggest[s] rather than depict[s]"
- Piano works: Rêverie, Deux arabesques, Suite bergamasque, Estampes, Images (2 sets), 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, cello sonatas
The Leafy Lanes of Kent
Mirrie Hill (1889–1986)
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🌳 20th-Century Romantic / English Pastoral
Composed
1950
Key / Form
E major · Ternary (AABA) + Coda
Subject
Kent = county in SE England; evokes rural landscape
Nationality
Australian — 20th-century pianist, teacher and composer
Structure
| Section | Bars | Description |
|---|---|---|
| A | 1–10 | E major; 4-part chordal texture; hexatonic melody (6-note subset of E major — A only used once); pastoral character. Opening phrase: descending, spans two octaves; first chord = dom. 7th → vi (interrupted), bass moves by semitones (B-B♯-C♯); frequent minor triads (vi, iii) = pensive. 2nd phrase (b.5–8): melody higher; chord ii7; V7–vi; V7–♭VI#6 = augmented 6th chord (C♮-E-G♮-A♯) → 2nd inv. tonic (b.9). Final phrase (b.9–10): V7–I with suspension. |
| A | 11–20 | Main theme restated; melody in different registers (octave lower b.11–12; doubled higher b.13–14, 17–18); wider pitch range; final chord has added 6th (C♯) |
| B | 21–36 | Episode (b.21–31): slower tempo; continuous semiquaver pulse divided between hands; variable time signature (added beats b.22, 28 = notated rubato). Key of F major (not closely related to E major — E becomes leading note of F). Dominant/tonic pedal in bass (b.21–24); F major tonic with added 6th (b.23) and flattened 7th (b.24). A major chord used for colour (b.25). Transition (b.32–36): suggests D minor (iiø7–V progressions); tritone motive in LH/RH (b.32–35); becomes dom. 9th of E major (b.36). |
| A | 37–46 | Main theme returns in E major; final phrase varied; melody ends on upper tonic; tonic with added 6th |
| Coda | 47–50 | Tempo/figuration of episode; tonic 6th harmony (b.47–48); ii7–V7–I with added 6th in final chord |
Romantic / Pastoral Characteristics
Descriptive titleLyrical melodyHexatonic melody (folk-like)Colourful 7th chordsChords with added 6thsAugmented 6th chord (b.8)SuspensionsRubato & tempo changesModulation to distant key (F major)Tritone motivePastoral — unhurried, no extremesDense chordal textureParallel 4ths/5ths (b.22–23)
Key Facts
- Born Mirrie Solomon, Sydney 1889; began piano lessons age 5 (aunt); composing from age 15; Rhapsody performed as teenager
- WWI prevented European study; studied NSW Conservatorium of Music (newly established); teachers included Alfred Hill (pre-eminent Australian composer)
- Appointed Assistant Professor of Harmony at Conservatorium 1919; married Alfred Hill 1921; retired 1944; AMEB examiner 1960s; awarded OBE 1980; died Sydney 1986 aged 96
- Composed 500+ pieces; mostly shorter works for younger performers; some incorporated elements of Aboriginal music (via anthropologist Charles Mountford recordings)
- Larry Sitsky: Hill was "expressing that yearning towards the mother country England that was so much a part of the Australian ethos in the first half of the twentieth century"
- Piano works: Aboriginal dances/pieces, Cinderella suite, In reflective mood, Leafy Lanes, Lament, Maori folk tune, Prelude, Rhapsody, The unquiet ocean, Will o' the wisp, Willow wind, The wonder of the night, Child fancies, Fun in the sun, Jolly wallaby
- Other works: orchestral (Fantasia, Symphony in A: Arnhem Land); chamber music (string quartet, piano trio); songs; choral music
- Contemporaries: Alfred Hill, Ralph Vaughan Williams, Percy Grainger, Margaret Sutherland, Frank Hutchens
Toccata
Aram Khachaturian (1903–1978)
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⚡ 20th Century / Soviet
Key / Form
E♭ minor · Ternary (ABA) + Coda
Toccata means
From Italian toccare = "to touch"; fast piece displaying the performer's touch
Character
Driving rhythmic pulse; perpetual motion; semiquaver/triplet quaver pattern
Nationality
Born Georgia of Armenian parents; Soviet composer
Structure
| Section | Tempo / Key | Description |
|---|---|---|
| A — Part 1 | Allegro marcatissimo · B♭ minor | Phrygian mode character (C♭, A♭); continual ambiguity of F♭/F♮ (and later C♭/C♮); hint of bitonality (LH = major triads; RH = different triads). Many B♭ and F pedal notes (tonic and dominant) maintain key centre despite chromaticism. Final 4 bars (fff chords): mode becomes major — B♭ major chords = dominant chords of E♭ minor |
| A — Part 2 | Vivace con brio · E♭ minor | E♭ minor emerges gradually (begins with G♭ major 7th chord); many E♭ and B♭ pedal notes (tonic and dominant) |
| B | Andante espressivo · E♭ minor | More lyrical; rhythmically varied; E♭ minor → A♭ minor (bar 3) → C♯ minor = D♭ minor (bar 5). A tempo: variant of Andante melody in A♭ minor; more regular rhythms, preparing return of toccata rhythm |
| A | As before | Return of Section A (mostly as before) |
| Coda | Last 3 bars | Reference to Andante theme, but loud and accentuated; ends on E♭ minor chord with added 4th and flattened 2nd |
20th-Century Characteristics
Perpetual motion / toccata rhythmHighly accentedPercussive piano styleDissonanceBitonalityModal harmony (Phrygian)Wide dynamic rangeTonic/dominant pedal pointsArmenian folk influenceStrong rhythmic energy
Key Facts
- Born Georgia of Armenian parents 1903; died Moscow 1978; studied with Myaskovsky at Moscow Conservatory
- Became one of the most celebrated Soviet composers; compositions sometimes use Armenian folk music
- 1948: accused by Central Committee of Communist Party (along with Shostakovich and Prokofiev) of displaying "formalism" and bourgeois tendencies — later restored to favour
- A toccata is a fast keyboard piece displaying the performer's touch; perpetual motion from continuous semiquavers or triplet quavers. Other toccata composers: J.S. Bach, Schumann, Debussy, Ravel, Prokofiev
- Major works: Piano Concerto; 3 symphonies; ballet music (Gayane — includes "Sabre Dance"; Spartacus)
- Other piano works: Sonata, Sonatine, Pictures from Childhood — all characterised by rhythmic energy, frequent dissonance and abundant accentuation
- Contemporaries: Shostakovich, Prokofiev, Bartók, Stravinsky
Exam Preparation Checklist
CP exam discussion topics
- I can discuss the title, key, catalogue number of each piece and what the title means
- I know if other composers wrote pieces with the same title (e.g. Toccata)
- 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, nationality, 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 period each piece belongs to and its characteristics
- I can explain what makes each piece different from the others
- I know what instrument Handel's piece was written for (harpsichord)
- I know what instrument Beethoven's Op. 79 was written for (fortepiano)
- I can explain the differences between harpsichord, fortepiano, and modern piano
- I can explain WHY special chords were used (not just name them)
- I know that the German aug. 6th appears in Beethoven's Andante (b.20–21)
- I know the birth/death dates of all four composers
- I know when each piece was composed
- I can point to examples on the score to illustrate my answers
Piano History — For Your Pieces
💡 For Handel — Capriccio HWV 481
Written for harpsichord. Strings are plucked — no dynamic variation by touch is possible. No sustaining pedal; tone dies away rapidly. Articulation and arpeggiation are used for accentuation. Some harpsichords had two manuals with stops. The virginal and spinet were relatives.
💡 For Beethoven — Op. 79
Written in 1809 for the fortepiano (or a transitional instrument approaching the modern piano). The fortepiano had: wooden frame (not iron), ~5½ octave range, leather hammers (not felt), no overstringing, knee-operated sustaining pedal. Lighter, thinner tone than the modern piano. By 1809, the instrument was being substantially improved.
💡 For Debussy, Hill & Khachaturian
All three pieces were written for the modern pianoforte. The modern piano (iron frame, 7-octave range, felt hammers, overstrung bass, double-escapement action, foot pedals) was essentially complete by the mid-19th century. The sustaining pedal is essential in Rêverie and Leafy Lanes of Kent.
Piano Development Timeline
- ~1400–1800: Harpsichord (strings plucked, up to 5 octaves) and Clavichord (strings struck by tangent; Bebung vibrato; very soft; Bach's favourite) in use
- 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 possible
- 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 Tips
- Give extended answers — never just one or two words. Always explain and elaborate.
- Use your own words — show you understand, not just that you've memorised
- Point to the score — show bar examples when you discuss structure or harmony
- When naming a special chord, explain why it was used — its effect and purpose
- Diminished 7th chords → drama and mystery (Beethoven Op. 79 Mov. I, Rêverie)
- Dominant pedal points → excitement and expectation
- Tonic pedal points → confirm and clarify the key
- German augmented 6th → chromatic colour and harmonic direction to the dominant
- Suspensions → expressive tension and release
- Know at least 6 piano works by each composer
- Practise describing each piece 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
One main mood, one main theme, one main rhythmic pattern (monothematic); constant rhythmic pulse
Counterpoint and imitation; polyphonic texture; both hands often equal importance
Ornamentation common; terraced dynamics; performers add ornaments at cadences and repeats
Clearly articulated sound; detached notes; no sustaining pedal; long phrases
Modulations to closely related keys (5th up/down); minor keys often end with Tierce de Picardie; sequences common
Your piece: Handel's Capriccio HWV 481 — ritornello form, invertible counterpoint, sequences, imitation, trills at cadences, modulations to C major (dom.), B♭ major (subdom.), G/A/D minor/C major (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 can be developed; Alberti bass common; ornamentation at cadences
Steady pulse; discreet rubato; moderate dynamics; mostly diatonic harmonies; modulations to related keys
Your piece: Beethoven Op. 79 — light, elegant, sonata form (Mov. I), rondo form (Mov. III), balanced phrases, Ländler episodes in development. Modulations by 3rds and German aug. 6th = early Romantic touches.
Composers: Haydn, Mozart, Clementi, Beethoven, Hummel, Schubert
🌹 Romantic c.1810–c.1900 / 20th-century Romantic
Romantic Style (Hill's Leafy Lanes)
Romantic tradition continued into the 20th century by many composers
Passionate and expressive; rubato; wide dynamic range; detailed expressive instructions
Rich chromatic harmony; 7th and 9th chords; modulations by 3rds and to distant keys
Long lyrical phrases; warm cantabile tone; sustaining pedal essential
English pastoral style: evocation of rural landscape; unhurried; folk-like/hexatonic melodies; avoidance of strong accents; parallel 4ths/5ths
Your piece: Hill's Leafy Lanes — descriptive title; hexatonic folk-like melody; colourful 7th chords, added 6ths; augmented 6th chord (b.8); modulation to distant F major; notated rubato (variable time signatures); pastoral character
🎨 Late Romantic / Pre-Impressionist (Rêverie)
Debussy's Rêverie — Style Position
1890 — Late Romantic character with impressionist foreshadowings
Late Romantic: lightness, grace, understated expressiveness, rhythmic freedom, tempo rubato
Pre-impressionist foreshadowings: ethereal texture; soft dynamics; cross rhythms (3 vs 4); ties across beats; 7th/9th chords; pedal points; modality (Mixolydian); whole-tone chord; parallel 5ths in bass
Not yet fully impressionist — no parallel chord streams, no deliberate avoidance of cadences throughout, not through-composed
Fully impressionist characteristics (mature Debussy): no dominant-tonic cadences; chords used for sonority; parallel chords; whole-tone and pentatonic scales throughout; bitonality; free form
⚡ 20th Century
20th-Century Style (Khachaturian's Toccata)
Composed by Khachaturian — Soviet period, mid-20th century
Piano used percussively; strong accents; driving rhythmic pulse; perpetual motion
Dissonance; bitonality; modal harmony (Phrygian); no clear tonal centre at times
Wide dynamic range; extreme registers; abundant accentuation
Armenian folk influence; Soviet nationalist context; toccata genre (perpetual motion in semiquavers/triplet quavers)
Your piece: Toccata — highly accented, percussive, E♭ minor tonal centre with pedal points; Phrygian mode; bitonality; lyrical B section contrasts with driving A sections; tritone/dissonance in final chord
Other 20th-century composers: Bartók, Prokofiev, Shostakovich, Stravinsky, Schoenberg, Hindemith