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Sibelius, Jean : 8 Pieces　"Impromptu" Op.99-4

Work Overview

Music ID : 21397
Instrumentation：Piano Solo　
Genre：inpromptu
Total Playing Time：1 min 00 sec
Copyright：Public Domain

Commentary (2)

Author : Ooi, Kazurou

Last Updated: June 17, 2024
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Learners should first understand the language of the composer Sibelius, and to do so, they need to listen to many of his other piano works. Works such as Op. 76, Op. 85, and Op. 103 are collections of relatively short pieces that allow one to discover many facets of his style. Please do listen to them.

He is an unconventional composer, deeply fascinated by nature, and it is sometimes said that humans are absent from his music. His music reveals various facets, and his famous works include his seven symphonies, which I also highly recommend listening to, but for now, let's explore various piano pieces.

As this piece expresses his optimistic and humorous sides, it is recommended to perform it with a certain degree of dynamism and lightness. Since there are many repetitions, a key hint is how to introduce variations and a sense of improvisation. Challenges include how to interpret expressions such as the shocking modulation (B section) and the second A section, which subverts expectations.

Writer: Ooi, Kazurou

Author : Kumamoto, Ryohei

Last Updated: January 16, 2025
[Open]
Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

Form and Structure

It is in ternary form.

  • A [a (measures 1-4) + a (measures 5-8)]
  • B [b (measures 9-12) + b1 (measures 13-16)]
  • A [a (measures 17-20) + a1 (measures 21-23)]
  • Coda (measures 24-30)

Key and "Quasi Marcia"

The main key is C major. "Quasi Marcia" is written, meaning "like a march," but it does not possess the characteristic march-like rhythms found in marches by Mozart or Schubert. The regular arrangement of four eighth-note arpeggiated lines in the accompaniment might, if anything, link it to the image of a march.

Thematic Material

The subject begins with a quarter note C tied to a subsequent 32nd note of the same pitch, which makes the following 32nd-note arpeggiated I chord feel somewhat improvisatory. The movement up to the second beat can be considered a decorative (and improvisatory) gesture against the melodic line. The actual melody begins from the third beat.

Middle Section

The middle section begins in E-flat major, a key distant from the main key of C major. This section is constructed with scalar ascending stepwise motion using dotted quarter notes and eighth notes. While not harmonically complex, it is an abstract section, unlike the A section. A hint for interpreting such an enigmatic section might be found in Sibelius's symphonies. Since scalar motives are also present in Symphony No. 7, it would be important to listen to various works by Sibelius, not limited to Symphony No. 7, to understand his worldview.

Harmonic Detail in Coda

In measures 27-28, a double dominant is used in a manner resembling a deceptive cadence. Since the harmonic resolution is not like that of a typical deceptive cadence using a VI chord, one should consider an interpretation that leverages this characteristic.

Writer: Kumamoto, Ryohei
Japanese