Global Giggle Fest World Laughter Day Unleashes Hilarity

by Hermione Lai  

On the first Sunday in May, we celebrate World Laughter Day. It all started in a park in Mumbai in 1998 when Dr. Madan Kataria gathered hundreds of people in a laughter yoga movement.

It started with some fake-laughing until the giggles turned real. It was gloriously absurd as strangers cackled like hyenas, some wiping tears of laughter, all because someone pretended to laugh at a non-existent joke.

Laughing is highly infectious, and moments of organised silliness remind us that laughter can cut through the daily grind. And while classical music might seem like a stuffy museum of serious faces, composers have given us plenty of giggles over the centuries.

Mozart Joke 

Mozart’s Divertimento for Two Horns and Strings in F Major, K. 522, is like the 18th-century equivalent of a musical prank call. It is a deliberate trainwreck of bad composing, written in 1787 to poke fun at every hack and mediocre musician. To be sure, Mozart throws in every compositional cliché he can think of.

© wfmt.com

We hear repetitive phrases and off-key surprises, with the strings playing along like they forgot how to read music. The horns honk at the worst possible moments and in silly keys, and the transitions are simply awkward. Still, it’s catchy and brilliant. It’s the kind of piece that makes you laugh out loud. Are you laughing with Mozart, or is he secretly laughing at you?

Satie Joke

Erik Satie

The French musical maverick Erik Satie gave the world his “Three Pieces in the Shape of a Pear” in 1903. This piano duet isn’t just a composition, it’s a wacky response to stuffy critics who whined that his music lacked form. The title alone is enough to make you laugh, and in fact, it’s actually seven pieces and not three.

The music itself is a delightful mess of quirky melodies, wonky rhythms, and moments when the piano is daydreaming about being in a circus. Satie throws in some playful titles and instructions, like “play with a very profound gentleness,” and “Prolongation of the Same.” The pieces meander through dreamy waltzes like a conversation between friends that keeps changing topics. We can’t help but laugh at such sheer silliness.

Alkan Joke

The reclusive piano wizard Charles-Valentin Alkan unleashed his “Funeral March on the Death of a Parrot” in 1858. This piece is exactly what it sounds like. It’s a mock-serious dirge for a dearly departed parrot, complete with all the pomp and circumstance you might expect for a fallen feathered friend.

It’s pure musical satire with a solemn and plodding rhythm that sounds absurdly grandiose. Alkan piles on the melodrama with heavy chords and exaggerated tempos. Can you hear the quirky little flourishes and dynamic shifts? It’s like Alkan is snickering behind the music and daring you to keep a straight face. This is musical trolling at its finest, and somewhere, the parrot’s ghost is squawking with glee.

Haydn Joke

Franz Joseph Haydn was basically the original musical prankster, and his String Quartet Op. 33, No. 2 is nicknamed “The Joke” for very good reasons. This piece shows Haydn at his most impish as he lures listeners into a false sense of security with its chipper melodies and polite classical vibes.

In the finale, Haydn pulls out all the stops. Just when you think the music is wrapping up with a tidy little bow, Haydn throws in a cheeky pause, and when everybody gets ready to clap, he restarts the music with a cheeky encore. I bet he had some stuffy aristocrats looking like fools. Pure, mischievous and utterly funny genius!

As we celebrate “World Laughter Day,” let’s raise a glass to the musical jesters who turned stuffy concert halls into serious giggle celebrations. Let’s tip our hats to the genius composers who weave hilarity into their harmonies, proving that music can spark laughter around the world.

Happy Birthday Johann Sebastian Bach

by Hermione Lai, Interlude

Johann Sebastian Bach—one name says it all! On 21 March, we celebrate one of the most revered and influential composers who ever lived. His compositions fill the air with harmony and joy, and his genius continues to inspire the world.

J.S. Bach

Bach’s music has left an indelible mark. From the intricate melodies in his fugues to the emotional depth of his cantatas, Bach’s work pushed the boundaries of what music could express.

Bach’s genius transcends time! His music is a living and breathing testament to the power of creativity and the beauty of sound; they will continue to inspire admiration and awe.

To celebrate his birthday, let’s dive into the wondrous world of his Orchestral Suites, where Baroque brilliance dances with every single note. These timeless masterpieces have enchanted listeners for centuries, and here are the 10 most popular gems that make these suites unforgettable.

Air on a G String (Suite No. 3 in D Major, BWV 1068 “Air” 

We just as well get started with one of Bach’s biggest hits ever. The “Air” from his Suite No. 3 is pure and unadulterated musical magic. Many times we see it referenced as “Air on a G String.” That title is not by Bach but comes from an arrangement fashioned in the 19th century.

The soothing and relatively simple melody is one of the composer’s most serene and timeless works. With its hauntingly delicate strings and serene atmosphere, it sounds like a gentle musical embrace.

In Bach’s original version, the piece is typically played on a single string on the violin, and in the lower register. That warm tone is central to the feeling of calm and elegance. The melody unfolds naturally and almost seems to breathe on its own. It transcends time with its graceful simplicity and profound beauty.

Suite No. 2 in B Minor, BWV 1067 “Badinerie” 

Bach had this unbelievable genius for turning a simple theme into an unforgettable masterpiece. If you need proof, just listen to the “Badinerie” from his 2nd Orchestral Suite. It is one of his most recognisable and frequently performed compositions.

The title “Badinerie” designates a piece of music light-hearted in character. In French it literally means “jesting,” and Bach presents a vibrant and playful piece characterised by a lively tempo and spirited rhythm.

The melody is primarily carried by the flute and seems almost mischievous at times. It dances through a series of short and rhythmic motifs, and Bach cleverly repeats and transforms these ideas to maintain both interest and drive. It is a masterpiece full of energy and charm and presents Bach’s skill in creating a highly dynamic but intricate musical conversation.

Suite No. 1 in C Major, BWV 1066 “Overture” 

One of the all-time Bach favourites, the “Overture” from his 1st Orchestral Suite blends grandeur and elegance in a way that only Bach can. It sets the ceremonial tone for the entire work, and for Bach the title “Overture” generally means “French Overture.”

Musically, that means a slow and majestic introduction followed by a lively and highly contrapuntal section. We can hear the ceremonial dignity in the stately and dotted opening rhythm, but Bach is also building anticipation for the lively section ahead.

Everything starts to dance in the second part, as Bach shifts to a more joyful character with different instrumental voices interacting in lively conversation. The strings lead and create an energetic exchange with the woodwinds and brass. The overture returns to the slow opening rhythm, giving us the impression of having witnessed something noble and celebratory.

Suite No. 3 in D Major, BWV 1068 “Gavotte I & II” 

Nobody dances like Johann Sebastian Bach. For some of his most popular examples we don’t need to look further than the Gavotte movements from his 3rd Orchestral Suite. This Gavotte pair reflects the grace of this courtly dance, which Bach infuses with great musical sophistication.

The first “Gavotte” immediately grabs the listener’s attention. The theme is simple, but it feels luxuriously rich due to Bach’s use of harmony and ornamentation. The upbeat rhythm and evenly spaced phrases provide a natural sense of forward motion.

The second “Gavotte” is a bit more reflective, with a slower and more lyrical quality. The musical texture is more transparent with woodwinds and strings creating moments of dialogue. This movement sounds more introspective, yet always retains a feeling of gracefulness. It’s pure Bach, as he blends rhythmic playfulness with harmonic depth and creates timeless delights.

Suite No. 4 in D Major, BWV 1069 “Bourrée I & II” (Cologne Chamber Orchestra; Helmut Müller-Brühl, cond.)

Monument of J.S. Bach in Eisenach, Germany

Bach was the undisputed master of turning simply dance forms into something both dynamic and sophisticated. If you don’t believe me, just take a listen to the pair of Bourrées from the 4th Orchestral Suite.

Bach’s treatment of these fast-paced and duple-time French dances is brimming with infectious energy captured within an intricate musical structure. The first Bourrée opens with a buoyant and immediately recognisable theme. What a sprightly and straightforward melody that gives this dance a playful and almost conversational feel.

The second Bourrée, while still in the same lively spirit, introduces a bit more contrast with a slightly different character. It opens in a similar fashion, with an energetic, clear melody, but there is a subtle shift in tone with the movement feeling slightly more intricate. Although rooted in the tradition of the Baroque dance, Bach is simply genius by elevating a simple form to a level of enduring artistic expression.

Suite No. 2 in B Minor, BWV 1067 “Rondeau” 

Let’s next feature another favourite lively and charming dance movement. The “Rondeau” from the 2nd Suite is in a basic rondo structure, where a recurring theme alternates with contrasting episodes. It’s all about creating a sense of continuity and variety.

The “Rondeau” theme is bright, rhythmically energetic, and immediately engaging. We can easily feel the strong dance-like pulse, and a feeling of momentum and lightness. And just listen to that delightful and lively conversation between the strings and the woodwinds.

The contrasting episodes are more lyrical but harmonically more complex. With the string section in the background, the woodwinds are given the opportunity to shine by adding colour and texture. The recurring theme sounds familiar and joyful, while the contrasting episodes offer variety and a touch of elegance.

Suite No. 2 in B Minor, BWV 1067 “Sarabande”

J.S. Bach’s Orchestral Suite No. 2 – III. Sarabande

The lively and high-spirited dances in the Bach Orchestral Suites are contrasted by deeply expressive and poignant movements. Such is the case with the “Sarabande,” a slow and elegant dance originating from Spain, from the 2nd Suite.

From the very beginning, this dance radiates a sense of gravity and introspection. In this particular dance the focus falls on the second beat of each measure, creating a slight emphasis. This in turn creates a gentle lilt that drives the movement forward without rushing it.

Bach composes a noble and flowing melody, with long legato phrases providing a vocal-like quality. And astonishingly, every phrase unfolds naturally, inviting the listener into a space of reflection. Bach also adds a harmonically rich tapestry, shifting unhurriedly beneath the long melodic lines. It’s all about the subtle emotional nuances as Bach creates a deeply expressive movement of timeless splendor.

Suite No. 1 in C Major, BWV 1066 “Forlane” 

If you’re looking for a sense of joyous celebration, look no further than the “Forlane” from Bach’s Orchestral Suite No. 1. This dance of Italian origin is typically in a moderate 6/8 metre, and Bach uses this basic structure to create a piece full of rhythmic momentum, melodic charm, and intricate phrasing.

While the overall form is straightforward, Bach deliciously propels the music forward by relying on the natural division of each measure into two groups of three beats. The melody is lively and playful, and it dances across the strings using crisp motifs that often occur in the form of a question and answer.

The harmony moves through major keys providing a sense of openness and warmth with occasional slight harmonic surprises. Unexpected modulations or shifts in tonality add a touch of colour and keep the music from becoming predictable. What a perfect and popular example of Bach’s ability to infuse dance music with both vibrancy and grace.

Suite No. 2 in B minor , BWV 1067 “Polonaise”

Johann Sebastian Bach playing the organ, c. 1881

For a beautiful dance of grace and dignity, let’s turn to the “Polonaise” from the 2nd Orchestral Suite. This dance is charming and expressive, with Bach showcasing a graceful melody, elegant ornamentation, rhythmic vitality, and subtle harmonic shifts.

Since it is written in the minor mode, this dance has a slightly sombre and reflective tone. But not to worry as Bach often brightens the mood with delicious modulations and harmonic shifts. The flute plays a key role, presenting the main theme while the string section provides a rich harmonic backdrop.

The rhythmic drive and moderate tempo allow for a stately procession, while the melodies and ornaments provide a sense of joyful elegance. The dance feels lively by capturing both the grandeur of the courtly setting and the joyful spirit of dance. Bach once again blends technical mastery with musical expressiveness.

Suite No. 3 in D Major, BWV 1068 “Gigue” 

Every good dance needs a rousing finale, and that’s exactly what we get in the “Gigue” from the 3rd Orchestral Suite. The gigue was a very common dance during the Baroque, and its fast pace and often skipping rhythm reflects the joyful spirit of this particular dance form.

The memorable melody in this dance unfolds in long, flowing phrases that are energetic and graceful. Bach adds a number of ornaments to the lively rhythm to add a layer of expressivity and elegance.

What a fantastic, high-energy movement full of rhythmic complexity and joyful exuberance. And just listen to the marvellous interplay between the instruments to create that sense of dialogue and energy. The music is never standing still, and the same can truly be said of Johann Sebastian’s incredible musical mind.

The Orchestral Suites are a radiant celebration of Bach’s elegance and musical ingenuity. Each suite presents a tapestry of contrasting emotions, weaving together joyous dances, delicate melodies, and intricate counterpoint. Together, they stand as some of the most cherished works in Bach’s orchestral repertoire, leaving us with an uplifting sense of musical fulfillment and joy.

From John Field to Alexander Scriabin: The Russian Nocturne

by Hermione Lai, Interlude

In our last blog we listened to some of the most beautiful Nocturnes by John Field. He is considered the father of the Nocturne, and his smaller-scale character pieces emerged from a growing salon culture throughout Europe. Field made fantastic use of the technical improvements of the piano, now allowing for a more sustained legato, greater variety of touch, subtler range of dynamics and a highly efficient sustaining pedal.

Anton Wachsmann: John Field, ca 1820 (Gallica: btv1b84179686)

On occasion, one can still hear performances of the Field Nocturnes in the concert halls, but they seem to have been relegated to preparatory exercises for the magnificent Nocturnes of Frédéric Chopin. He took on the legacy of Field’s invention and took this new salon genre to a deeper level of sophistication.

In light of Chopin’s achievements, it is easy to forget that Field’s influence was also felt in Russia. Field made Russia his home between 1802 and 1829, and he was deeply admired as a performer. However, he also set up a highly successful private piano studio, which contributed to the establishment of the Russian piano school and to Russian music itself. Will you join me on a journey through the wonderful world of the Russian Nocturne?

The Glinka Connection

Michael Glinka: Nocturne in E-Flat Major 

When I started looking for John Field’s Russian connections, I came across the marvellous website of pianist and scholar Daniel Pereira. He embarked on an ongoing 15-year research project that looks at the history of universal pianism and its interpreters and teachers. It’s called “Piano Traditions Through their Genealogy Trees” and features thousands of piano connections throughout time, including pianists, teachers and the establishment of national and regional schools of playing.

Mikhail Glinka

Thanks to Daniel Pereira, we can now trace the students of John Field and their role in the Russian Nocturne tradition. One of the biggest names to emerge is Mikhail Glinka (1804-1857), who is generally regarded as the father of Russian music. Apparently, Glinka had a number of piano lessons from Field, and we know that his operas “A Life for the Tsar” and “Lyudmila” are cornerstones of a Russian tradition.

Glinka was surprisingly well travelled, and he personally knew Donizetti, Bellini, Mendelssohn, Berlioz, Auber, and Victor Hugo. But even more interesting for this blog, he also composed a number of piano pieces, including several Nocturnes. His “Nocturne in E-flat Major” dates from 1828 but was published only fifty years later. Some commentators call it “the first Russian Nocturne,” and the connection to Field is obvious. The beautifully flowing and melancholy Nocturne in F minor dates from 1839 and was written for Glinka’s sister while she was away, hence the title “The Separation.”

The Rubinstein Connection

Alexander Villoing

Alexander Villoing (1804-1878) was born of a French émigré family and he studied piano with John Field in Moscow. By 1830, in the tradition of his teacher, he had established his own piano studio and soon enjoyed a reputation as one of the best pedagogues in Russia. Most significantly, in 1837 he was tasked with teaching the eight-year-old Anton Rubinstein. In fact, he is still considered Rubinstein’s only teacher and one of his best friends.

Villoing accompanied his young charge on a European concert tour between 1840 and 1843. He once again toured with Anton, his brother Nikolai and their mother Kalerija Christoforovna between 1844 and 1846. And we know that he became a professor at the St Petersburg Conservatory in 1862, an institution founded by Anton Rubinstein. 

Villoing not only taught at the St Petersburg Conservatory, he also published his “Piano School”, the École pratique du piano in 1863. That particular piano primer was also called “Exercises for the Rubinstein Brother.” It was adopted as the official piano method at the Conservatory, republished several times, and even translated into German and French.

Anton Rubinstein, 1842

As a student of Field, Villoing was almost certainly introduced to the Nocturnes, a tradition he passed on to Anton Rubinstein. Rubinstein started to compose at the age of 12 and established world fame as a pianist. However, he was always keen to establish himself as a composer, and “he was the first Russian composer whose works for solo piano embodied the same serious artistic ideas as his symphonies and chamber music.”

In all, Anton Rubinstein composed eleven Nocturnes, two of them for piano four hands. Thematically charming and pianistically perfect, the Rubinstein Nocturnes are written with great skill and refinement. A critic suggests, “rather than plumbing the deepest emotions, they are far above the average Romantic salon music. 

The Tchaikovsky Connection

Anton Gerke

Among Field’s students, we also find the pianist, composer and teacher Anton Gerke (1812-1870). He was the son of a Polish violinist, and he personally knew Liszt, Thalberg, and Clara Schumann. I don’t know much about his apprenticeship with John Field, but by 1831 he was appointed court pianist in St Petersburg. Gerke was also involved with setting up the Russian Music Society.

Anton Gerke taught at the St Petersburg Conservatory between 1862 and 1870, and among his students were Nikolay Zaremba, Nadeszhda Rimskaya-Korsakova, Modest Mussorgsky, and Pyotr Ilyich Tchaikovsky. Of course, when we look at the Tchaikovsky connections, we also find Anton Rubinstein.

Pyotr Ilyich Tchaikovsky: Two Pieces Op. 10, No. 1 “Nocturne in F Major” 

Tchaikovsky and Anton Rubinstein did not get along at all. Tchaikovsky was a student in Rubinstein’s instrumentation classes in the conservatory’s first intake in 1862. Rubinstein was unquestionably the greatest pianist besides Franz Liszt, and he knew it. Rubinstein considered himself a successor of Schubert and Chopin, and he very much disliked Tchaikovsky’s music.

Pyotr Ilyich Tchaikovsky

As Tchaikovsky later wrote, “In my younger days, I very impatiently blazed my way—tried to acquire a name and fame as a composer—and hoped that Rubinstein would help me in my quest for laurels. But I must confess with grief that Anton Rubinstein did nothing, absolutely nothing, to further my desires and projects.”

Tchaikovsky composed his two Nocturnes in the 1870s, and “they are generally regarded as real jewels of Russian music.” He almost certainly knew the Nocturnes by Field, Rubinstein, and Chopin, but he also seems to take his bearing from Glinka. A pianist writes, “Tchaikovsky’s nocturnes abound with the heartfelt poetry of everyday life, and in following Field, places floating melodies above repeated pulsating chords.” Tchaikovsky also loved to place his melodies in the cello register of the piano, “creating an almost orchestral texture.” 

The Glazunov Connection

Alexander Dubuque

We must count the pianist and teacher Alexander Dubuque (1812-1898) among the most influential students of John Field. He was probably of French descent, and as one of the most influential teachers in Russia, Dubuque carried the piano tradition of John Field into the second half of the nineteenth and early twentieth centuries.

Among his most distinguished students were Balakirev and Nikolay Zverev, the teacher of Rachmaninoff, Scriabin, and Ziloti. Dubuque was known for an intellectually controlled, poised and precise style that became associated with the Field-Dubuque Moscow tradition. He even published a book on the technique of piano playing and one on his “Reminiscences of Field.”

Mily Balakirev

Both Tchaikovsky and Balakirev dedicated piano pieces to Dubuque, and it was Mily Balakirev, a member of the famed “The Five,” who discovered Alexander Glazunov. Glazunov had started taking piano lessons at the age of nine and fashioned his first compositions at the age of 11. Balakirev took his early compositions to Rimsky-Korsakov, and among his early works, we find two Nocturnes. These youthful works show clear musical attention to texture, clarity of melodic line and harmonic sumptuousness, all attributes going back to John Field.

Alexander Glazunov

The Rachmaninoff Connection

Nikolai Zverev

The Field student Alexander Dubuque also taught Nikolay Zverev, born into an aristocratic family, in 1833. Zverev studied mathematics and physics at Moscow State University, but concurrently, he also took lessons from Dubuque. Zverev inherited a large family fortune and moved to St Petersburg to become a civil servant. Unhappy with his career and urged on by Dubuque, he returned to Moscow to establish his private piano studio. When Nikolai Rubinstein invited him to teach at the Moscow Conservatory, he happily accepted.

Rachmaninoff was only 12 when he auditioned to become Zverev’s student. He was quickly accepted and entered the pianist’s home to receive private piano lessons. Rachmaninoff remembered, “I entered Zverev’s home with a heavy heart and foreboding, having heard tell of his severity and heavy hand, which he had no qualms of resorting to. Indeed, we were able to witness proof of this latter: Zverev had a temper and could launch himself at a person, fists flailing, or hurl some object at the offender. I myself had been the object of his fury on three or four occasions.”

Rachmaninoff continued, “but all other talk of his exacting and severe manner were false. This was a man of rare intellect, generosity and kindness. He commanded a great deal of respect among the best people of his time. Indeed, discipline entered my life.” In May 1886, Zverev took his students to Crimea, where Rachmaninoff continued his studies in hopes of being accepted into Anton Arensky’s class at the Moscow Conservatory.

Sergei Rachmaninoff

It was during this time that Rachmaninoff created his first composition, a now lost Etude in F-sharp Major. He also composed a group of pieces titled “Three Nocturnes,” works regarded as his first serious attempt at writing for the piano. The pieces are not entirely nocturnal in their approach, and they are certainly closer to Field than Chopin. The nocturnes were published only in 1949 without opus number, and while they lack maturity, they are full of suggestions of what was still to come.

First performed in 1892, Rachmaninoff’s C-sharp minor Prelude became his first real hit. In addition, Tchaikovsky tirelessly promoted Rachmaninoff’s talents, and the young composer was exceptionally successful in getting his early compositions into print. Rachmaninoff composed his “Morceaux de salon,” Op. 10, after graduation from the Moscow Conservatory in 1892. A “Nocturne in A minor” opens this collection of piano pieces, and like Field and Chopin, he concentrated on a framework of singing melodies supported by rich harmonies and elaborated by embellishments.

The Scriabin Connection

Georgy Konyus

With Alexander Scriabin we once again find the connection to John Field in the home of Nikolai Zverev. Scriabin had been able to play the piano with both hands by the time he was five, and he was able to reproduce the tunes he heard from passing organ grinders. He received his first formal music lessons from Georgy Konyus, who was not impressed. He writes, “He knew the scales and the tonalities, and with the weak sound of his little fingers which barely carried, he played to me, what exactly, I don’t remember, but it was accurate and satisfactory… he learned pieces quickly, but his performance, it should be remembered, as a result of the shortcomings of his physique, was always ethereal and monotonous.”

Because Scriabin could count on significant family connections, he was able to study with Taneyev, who prepared him for entry to the Moscow Conservatory. And in turn, Taneyev introduced Scriabin to Zverev. Zverev insisted that his students should live in his own house, and Scriabin “learnt not only French and German but also the manners of high society; he was shown great literature and how to drink vodka.”

Scriabin studied among a group of boys of similar age, and that included Rachmaninoff and Goldenweiser. During his study with Zverev, Scriabin performed Schumann’s “Papillons” in the Great Hall of the Charitable Society. That performance showed some obvious talent “despite some inaccuracy.” It was suggested that Scriabin became Zverev’s favourite student, but things changed when his young charge tried his hands at composition. When he dedicated a Nocturne in F-sharp minor to his teacher, later to be published as Op. 5, No. 1, Zverev put his foot down and told him to stop composing.

Alexander Scriabin

From his very beginnings, Scriabin loved the music of Chopin. It’s hardly surprising that we should find a couple of nocturnes in his oeuvre. Stephen Coombs writes, “The Two Nocturnes Op 5, written in 1890, have only the faintest suggestion of reflective ‘night music’ and could as easily have been titled ‘impromptus’ or ‘poems.’ Both pieces display an increased sensuousness and rhythmic freedom together with a more confident and daring use of harmony.”

Scriabin wrote only one more Nocturne, the second of his Two Pieces for Left Hand, Op. 9. Competing against the likes of Rachmaninoff, Hofmann and Lhévinne, Scriabin temporarily lost the full use of his right hand. Eager to prove his ability as a pianist, he turned the Nocturne into a particularly devilish technical exercise. As a pianist wrote, “with Scriabin, the nocturne breaks with the bel canto singing to which it was through John Field, historically linked.” Please join us next time when we take a closer look at the 10 most beautiful Nocturnes by Frédéric Chopin.

Slithering into Fortune: Happy Chinese Year of the Snake

by Hermione LAI 

Get ready to slither into the most exciting, vibrant, and mystical year ahead! The Chinese New Year is almost here, and we’re embracing the wisdom, charm, and elegance of the snake. This year is all about shedding old skin, stepping into fresh opportunities, and moving forward with grace and determination.

This year promises to be filled with transformation and growth, and whether you are looking for big changes or small wins, there is a magical energy in the air. The snake may be mysterious, but it is also very powerful, resourceful and ready to lead us towards a new beginning. 

The Wood Snake

In the Chinese zodiac, the snake occupies the sixth position, and it is associated with wisdom, charm, elegance, and transformation. People born in the Year of the Snake are supposed to be intuitive, strategic, and intelligent. In 2025, the Year of the Snake starts on 29 January and ends on 16 February. 2025 is the year of the Wood Snake, associated with growth, creativity, and expansion.

People born under the influence of the Wood snake tend to be highly creative. Highly innovative and artistic, they have a natural ability to create new ideas and come up with solutions. Individuals also exhibit a strong sense of nurturing and caring, making them more emphatic and concerned about others. And since wood can bend without breaking, Wood Snakes are uniquely capable of adapting and can go with the flow when necessary. 

Love Life

It has been predicted that individuals born under the zodiac of the snake will experience a particularly vibrant and fulfilling love life. Their natural charm and allure will make it easy for them to attract members of the opposite sex, leading to a year filled with romantic opportunities and excitement. Wood Snakes tend to be more reserved in the beginning stages of a relationship, so it may take time for attraction to turn into something more lasting.

However, it is advisable to exercise caution and avoid indulging in their romantic pursuits. Excessive behaviour can complicate relationships and lead to unintended consequences, such as unwanted pregnancies. By setting boundaries and using their intelligence and judgment, Snakes can enjoy romance without facing complications. Your best matches are the Rooster, Ox, and Dragon, but you should absolutely stay away from Monkey and Tiger. 

Money

2025 looks quite promising for Wood Snakes in terms of wealth, income, and family growth. There might be opportunities for financial growth through strategic investments, planning, or business ventures. If you’ve been waiting for the right moment to take a financial leap, such as investing in stocks, real estate, or starting a business, this may well be a good year to move forward, but only after careful consideration and planning.

It has been predicted that 2025 will be particularly beneficial for individuals in the communication sector and that collaborations with foreign companies may lead to additional income. However, Wood Snakes can be drawn to indulgent spending, especially on luxury items. Be mindful of your financial habits in 2025, especially when it comes to unnecessary purchases. Set a clear budget and stick to it, ensuring that you prioritise your financial goals over momentary desires. 

Health

Even though the physical energy might be high, the Wood Snake might be vulnerable to stress and mental fatigue in 2025. Sometimes, individuals born under that sign tend to overthink and strategise, leading to excessive worrying. Please be careful, as emotional health might be impacted.

It’s always a good idea to incorporate relaxation techniques like meditation, yoga, or deep-breathing exercises into your daily routine. Allow yourself moments of downtime to decompress from the mental and emotional pressures you face. And if you are prone to anxiety, you might find that stress manifests physically, such as tension headaches, digestive issues, or muscle strains.

2025 will likely be a wonderful year if you are born under the sign of the Snake, as you will experience significant growth and transformation driven by a balance of strategic planning, emotional awareness, and a deepening of both personal and professional connections. You will navigate all challenges with patience and resilience.

Happy Chinese New Year! May the Year of the Snake bring you wisdom, prosperity, and endless joy!

Intimate and Irresistible Schubert Piano Favourites

By Hermione Lai, Interlude

The piano music of Franz Schubert remains deeply beloved for its emotional depth, melodic beauty, and innovative use of harmony. Schubert blended lyricism with harmonic exploration, and his gorgeous and highly expressive melodies are enriched by a harmonic language overflowing with chromaticism and surprising modulations.

Franz Schubert

Schubert composed extensively for the piano, with his oeuvre ranging from intimate miniatures to expansive sonatas. Actually, his piano sonatas are central to his piano repertoire. He composed 21 sonatas, combining lyrical, song-like melodies with intricate harmonic progressions. As some commentators have noted, “Schubert bridged the clear formal structures of Classical music with more exploratory and expressive Romantic tendencies.”

Schubert also composed several sets of character pieces, works that reflect his gift for melody and mood. Each work encapsulates a distinct emotional landscape, ranging from deeply introspective to playful. We also find shorter, more whimsical pieces that draw from folk-like rhythms and melodies, giving them a sense of charm and immediacy. To commemorate Schubert’s birthday on 31 January, we decided to dedicate a blog to his 10 most popular piano works.

Impromptu in G-flat Major, Op. 90, No. 3 (D. 899) 

Let’s get started with one of Schubert’s most popular and best-loved piano compositions, the Impromptu in G-flat major, Op. 90, No. 3 (D. 899). What a stunning exploration of lyrical elegance and expressive depth. Just listen how Schubert weaves together moments of tranquillity and exuberance!

From the opening notes, the piece introduces a melody that seems to shimmer and flow effortlessly, casting a spell of quiet beauty. The theme is delicate but imbued with a quiet longing, its long and sweeping phrases unfolding as if in a dream. But beneath its serene surface, Schubert crafts subtle harmonic shifts that add layers of complexity and intrigue, creating a sense of ongoing motion.

Schubert’s Impromptu in G-flat Major, Op. 90, No. 3 (D. 899)

The work takes a more playful turn in the middle section. Syncopated rhythms and rapid cascading figures inject a sense of sparkle and vitality. The music suddenly comes alive, even hinting at a joyful dance before returning to the opening’s more introspective and lyrical atmosphere.

Schubert effortlessly navigates between lyrical beauty and impetuous energy, with moments of delicate intimacy and sudden surges of emotion creating an engaging character. As with much of Schubert’s music, there is a sense of improvisation as each phrase feels spontaneous, yet it is carefully crafted. This gorgeous Impromptu is an intimate journey through the full range of human emotions, wrapped in Schubert’s unforgettable signature harmonic richness and melodic inventiveness. For me, it’s a musical miracle!

Sonata in B-flat Major, D. 960 

Franz Schubert composed his B-flat Major Sonata, D. 960, during the final months of his life in 1928. It is a profound and introspective work that showcases the composer’s exceptional ability to express deep emotional complexity through his music. This sonata is often regarded as a summation of his compositional style, blending lyrical beauty, harmonic richness, and a kind of emotional vulnerability. It is a work that speaks with a quiet but unmistakable intensity, reflecting both the joy and the melancholy of Schubert’s final years.

Schubert’s Sonata in B-flat Major, D. 960

The sonata is structured in four movements, each offering its own distinct emotional landscape while contributing to the larger narrative of the piece. The grand and restless “Allegro” is filled with tension and lyrical beauty, while the second movement “Andante sostenuto” offers a deeply introspective and meditative contrast. The “Scherzo” injects a playful and complex energy with darker undertones, the concluding “Allegro” reflects Schubert’s creativity and looming mortality.
It’s amazing how Schubert balances a sense of sweeping grandeur with profound intimacy in D. 960. The sonata is sometimes described as an elegy, filled with an almost palpable sense of nostalgia, resignation, and yet, at times, quiet optimism. It represents a musical reflection on the fragility of life and the passage of time, and it is regarded as a crowning achievement of Schubert’s career. It is a late masterpiece, one of the most emotionally profound and structurally sophisticated works in the piano repertoire.

Moments Musicaux, Op. 94 No. 3 

Schubert composed the “Moments Musicaux,” actually not his title, in 1827 when he was already dealing with his illness. Despite his health problems, he continued to compose music full of emotional depth, and each piece in the set captures a fleeting moment. The third piece of the set in F minor has an air of contemplation, almost like a musical sigh, and it is often seen as a window into Schubert’s more personal and reflective side.

Schubert’s Moments Musicaux Op. 94, No. 3

Op. 94 No. 3 is scored in a straightforward ABA structure. The opening section in F minor has a melancholy feel, as the mood is calm but carries an undertone of quiet reflection or remembrance. As the key changes to A-flat Major, the mood lightens, and Schubert offers a brief moment of relief. The opening section returns, but with some variations. The overall mood is still melancholy, but there is a sense of acceptance now as if returning to something familiar but with a fresh perspective and deeper understanding.

The piece has an air of contemplation, like a short reflection on a fleeting emotion. It is not overly dramatic but rather quiet and introspective. The music moves through subtle shifts in mood, balancing melancholy with moments of warmth, all while maintaining a gentle and understated elegance. It surely is one of the 10 most popular piano works by Franz Schubert.

Wanderer Fantasy D. 760 

Franz Schubert composed his Fantasie in C Major, nicknamed the “Wanderer Fantasy”, in 1822. It is a vast and ambitious piece that pushes the boundaries of both form and expression. With its blend of lyrical beauty, harmonic richness, and technical complexity, the “Wanderer Fantasy” is a deeply emotional and highly intricate work.

The title “Wanderer Fantasy” is actually referencing the “Wanderer motif,” which appears in many of Schubert’s songs and instrumental works. The image of the wanderer evokes themes of longing and transcendence, and Schubert’s own feeling of alienation brought on by relative obscurity and financial struggles is thought to resonate within the music.

Schubert’s Schubert’s Wanderer Fantasy D. 760

The work unfolds in four movements, but it is considered a single large-scale entity unified by recurring motifs. The “Wanderer motif” appears throughout the piece in different guises, harmonically, rhythmically, and contrapuntally transformed. The emotional trajectory is highly varied, with sudden shifts in mood and the portrayal of tension and release. Schubert’s harmonic language is unpredictable, as frequent modulations shift between distant keys, creating a sense of movement and unpredictability. Without a doubt, this is one of Schubert’s most popular piano works.

Impromptu in E-flat Major, Op. 90, No. 2 (D.899) 

For our next selection, let us return to the set of Impromptus Op. 90. The E-flat Major piece of the set is known for its grandeur and lyrical warmth. It is often interpreted as one of the most elevated works in Schubert’s piano repertoire. Less introspective than the G-flat Major No. 3, it nevertheless possesses its own unique charm and emotional depth.

The lyrical and flowing theme in E-flat Major is characterised by long and sweeping phrases, and it almost feels orchestral. Schubert introduces subtle contrasts through modulations, enhancing the emotional expressiveness of the piece. The central section is scored in the minor key and sounds more agitated and complex. It is filled with chromaticism and harmonic tension, and the contrast between major and minor and between the lyrical and dramatic, is quintessentially Schubertian.

The return to the opening brings back the original lyrical warmth but it feels much enriched as it is now heard through the emotional contrast of the middle section. There is a gentle and peaceful coda that revisits elements from the opening, but it has become more introspective. Schubert’s expressive lyricism, his sensitivity to harmonic colour, and his mastery of form are all on full display in this work, making it one of the standout pieces in the Op. 90 set and a favourite in the piano repertoire.

Impromptu in A-flat Major, Op. 142 No. 2 (D.935) 

Published more than a decade after Schubert’s death, the set of four Impromptus D. 935 actually dates from the year after he had completed his “Unfinished Symphony.” Although these pieces are labelled “Impromptus,” they reach far beyond mere improvisatory charm. They are highly structured and emotionally profound, and demonstrate Schubert’s ability to blend technical brilliance with lyrical depth.

The Impromptu in A-flat Major (Op. 142 No. 2) stands out for its rich, song-like themes, its subtle use of counterpoint, and its dynamic contrasts. The piece has a relaxed, almost conversational quality, but beneath its surface lies a sophisticated exploration of form and harmony, making it one of the gems of Schubert’s piano repertoire.

The piece is a perfect balance of lyricism and elegance, with an effortless flow that disguises its underlying harmonic complexity. The piece moves from the warmth of the opening theme to the lively contrast of the B section before returning to the familiarity of the opening melody, enriched with new nuances. The coda provides for a peaceful resolution. Schubert blends spontaneity with deep emotional resonance and structural sophistication; it’s a miniature masterpiece!

Sonata in A Major, D. 959 

Like D. 960, the Piano Sonata in A Major, D. 959 was composed in 1828, shortly before his untimely death in the same year. It is part of a pair of monumental piano sonatas as both reflect Schubert’s deep maturity as a composer. Both display profound emotional depth, innovative harmonic progressions, and an intimate, lyrical style. D. 959 stands out for its elegance and sense of balance, juxtaposing light-hearted and classical elements with moments of profound lyricism and subtle harmonic complexity.

This sonata stands out for its lyrical richness and melody beauty. The harmonic language is rooted in Classical tradition, however, Schubert pushes all the boundaries. Shifts between major and minor modes and unconventional key relationships greatly enhance the emotional depth of the work. Schubert combines Classical forms like sonata, menuetto, and rondo with innovative developments and expressive contrasts. Despite moments of grandeur, the sonata retains an intimate, personal character, with subtle nuances and dynamic contrasts that invite deep reflection.

Surely one of the 10 most popular piano works by Franz Schubert, D. 959 is a beautiful example of his late style, combining lyricism, harmonic sophistication, and thematic inventiveness. With its graceful menuetto, elegiac second movement, and jubilant finale, this sonata is one of Schubert’s crowning achievements. Its warmth, depth, and emotional range continue to captivate pianists and audiences alike.

Moments Musicaux, Op. 94 No. 6 

I think we can safely feature one more Moments Musicaux, specifically Op. 94 No. 6 in A-flat Major. It is a delightful work that blends lyrical beauty, subtle harmonic twists, and an almost improvisatory character. It reflects Schubert’s deepening sense of introspection and his mastery of melody, yet it retains a certain lightness that is almost playful at times.

The melody has a singing, almost vocal quality. Its long, lyrical phrases are reflective of Schubert’s ability to craft deeply expressive lines. The melody is sweet and flowing but not without moments of chromaticism that lend a bittersweet edge to the otherwise peaceful character of the piece. However, it isn’t a melody that reveals all of its meaning immediately; instead, it invites the listener to explore its varied shades that often mirror a poetic, emotional landscape.

Franz Schubert

Schubert also provides a particularly engaging harmonic language. While the A-flat major key gives the piece a rich, warm colour, Schubert subtly shifts between major and minor modes and introduces some unexpected harmonic turns. These moments provide emotional depth without disrupting the overall calm atmosphere. Although it is not overtly dramatic or technically demanding, it feels like a brief but meaningful moment in time.

Sonata in G Major D. 894 

As with all Schubert’s late piano sonatas, D. 894 is often noted for its intimate, almost introspective character. It does not showcase a grandiose or virtuosic techniques but emphasises inner depth and provides a subtle personal connection with the performer and listener. With its lyrical melodies, rich harmonic textures, and emotional depth, this sonata blends classical form with the emerging Romantic sensibilities of Schubert’s time.

Robert Schumann called the G-Major Sonata “a poem in the form of a sonata.” This poetic reference highlights Schumann’s view that Schubert’s style was not only about structural mastery but also about emotional expression and lyricism. To Schumann, Schubert’s music seemed to convey an inner world of reflection and feeling, much like the expressions found in poetry.

Ländler D. 366

Let us conclude this blog on the 10 most popular piano works by Franz Schubert, with some delightful short pieces often associated with a folk dance. The “Ländler” is a traditional Austrian dance that was a precursor to the waltz, a dance with a slightly rustic feel. Schubert composed a substantial number of “Ländler” throughout his life, either as part of larger piano works or as standalone pieces. These pieces show Schubert’s deep connection to Austrian folk music, which was a key influence in his compositions.

Schubert’s Ländler D. 366

Schubert’s “Ländler” are beautiful examples of how a simple folk dance can be transformed into something rich, nuanced, and emotionally resonant. With their infectious rhythms, graceful melodies, and subtle harmonic depth, Schubert takes what might be seen as a humble dance form and elevates it into a moment of emotional reflection. These miniatures are windows into the emotional life of the composer, tinged with both joy and a quiet sense of melancholy.

I hope you enjoyed this little survey of the most popular piano works by Franz Schubert. Which ones are your favourite, and could you let us know which one should have been included?