We have now arrived at a point where a completely developed recital program, according to modern ideas, can be presented, and this upon a great variety of grades of difficulty. As an illustration, three programs are given. The first contains nothing of greater difficulty than the fifth grade, and is, therefore, within the reach of pianists of very moderate abilities. The second is of a more difficult character, involving technic up to the eighth or ninth grade, and requiring more experience and brilliant capacity. The third program is a fully developed recital, such as an artist might play. In so far as regards the mechanical difficulties of the last program, they are not beyond the reach of the better class of pianists, as we find them almost anywhere; but from an artistic point of view the interpretations require a good deal of musical maturity.
PROGRAM I. (Easy.)
Bach,
Prelude and Fugue in D major. Clavier, No. 5.
Saraband in E minor.
Loure in G major. (Heinze.)
Beethoven,
Sonata in G major, opus 14, No. 2.
Chopin,
Impromptu in A-flat, opus 29.
Nocturne in B major, opus 15.
Schumann,
Forest Scenes: "Entrance," "Wayside Inn," "Homeward."
Nachtstück in F, opus 23, No. 4.
Wagner-Liszt,
Spinning Song, from "The Flying Dutchman."
PROGRAM II. (Moderate.)
Bach,
Prelude and Fugue in C-sharp major. Clavier, No. 3.
Beethoven,
Sonata in A-flat major, opus 26.
Schumann,
Fancy Pieces, opus 12: "In the Evening," "Soaring," "Why?"
"Whims," "End of the Song."
Chopin,
Prelude in D-flat; Scherzo in B-flat minor.
Liszt,
"A Dream of Love" (No. 3); Eighth Hungarian Rhapsody.
PROGRAM III. (Difficult.)
Bach-Liszt,
Fantasia and Fugue in G minor. (Organ.)
Beethoven,
Sonata in C minor, opus 111.
Chopin,
Fantasia Impromptu in C-sharp minor, opus 66.
Studies, opus 10, Nos. 3, 5, and 12.
Nocturne in G major, opus 37.
Schumann,
"Kreisleriana," opus 16, Nos. 1 and 2.
Liszt,
"Eclogue," "Au Bord D'Un Source."
"The Erl King." (Schubert.)
In all these programs, except the second, the order observed is that of Bach, Beethoven, Chopin, Schumann, and Liszt. When forming a program to be played before those not accustomed to classic music, it is quite practicable to make a combination on a different plan, beginning with a combination of three pieces by Bach, Chopin, and Schumann or Liszt, or Bach, Schumann, and Chopin. These could be followed by a serious Beethoven work, such as one of the larger sonatas; and this again by a few small pieces, in order to relieve the overtaxed attention; the whole concluding with a Hungarian rhapsody or some other brilliant piece. The advantage of this arrangement is that the audience does not have to wait so long before arriving at music which pleases.
In the ordinary arrangement—as that in the programs above—the program follows a systematic development from the beginning to the end, in the direction of greater freedom of expression and more brilliancy and adaptability to the pianoforte; so the music becomes more and more pleasing all the way through, and the only trouble is a fear lest the early pieces may prove too severe to those who are not accustomed to listening to music of this kind. In the case of musical clubs, and other places where the study of art is the principal motive, this fear is not entitled to any weight, since when it is designed to present programs of serious works, requiring to be understood and to be heard several times before their full meaning is apparent to the listener, a certain amount of preliminary analysis or study ought to be done, either by members of the club separately or by the club together in a sort of preliminary rehearsal by a competent person, who will both play the works in fragments and comment upon their peculiarities. As an illustration of a program arranged on the plan last mentioned, the following is presented:
1. Bach, Prelude and Fugue in C-sharp major, Clavier No. 3. Chopin, Fantasia Impromptu in C-sharp minor, Valse in A-flat, opus 42.
2. Beethoven, "Sonata Appassionata," opus 57.
3. Grieg, "Butterflies." Wm. Mason, "Reverie Poetique," "The Silver Spring."
4. Schumann, "Traumes Wirren," "End of the Song," opus 12. Liszt, Second Hungarian Rhapsody.
This could be played in two numbers, pausing after the sonata; or, better, in four, pausing after the Chopin valse, the sonata, and the Mason "Silver Spring." Each number is pleasing by itself.
A certain amount of care has been taken in the easy program to illustrate different phases of all the writers; accordingly, the Bach illustration begins with the Prelude and Fugue in D major, which is a very pleasing one, followed by the short Saraband in E minor, and this again by the Loure in G major. The saraband is of a very serious and melodious turn, and is about as near a sustained lyric melody as Bach ever got upon the piano. In writing for the violin he reaches a higher flight in several cases.