List of major/minor compositions
"Major/minor" redirects here. For the 2011 album by the American rock band Thrice, see Major/Minor (album). For information on major/minor tonality, see Major and minor.
Major/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel minor), specifying the keynote (as C major/minor). This is an unusual form in tonal music; there are far fewer major/minor compositions than minor/major ones (the latter category of which includes, but is not limited to, all minor-key works that end with a Picardy third, as well as many Classical- and Romantic-period symphonies, concertos, sonatas and chamber works, and individual movements thereof.)
The major/minor compositions in the following lists do not necessarily end with a minor chord; a final passage in minor ending with a sonority that fails to re-establish the major mode (for example, an open octave or fifth) is sufficient. However, any compositions that would be major/minor but for a final Picardy third, such as Bach's Cantata BWV 40, are excluded.
Major/minor compositions retaining the keynote
Single works and miniatures
- Alkan – Chant d'amour - Chant de mort, Op. 35 No. 10 (G♭-f♯)[1]
- Alkan – Esquisse Op. 63 No. 7 "Le frisson" (F♯)[2]
- Alkan – Prière Op. 64 No. 10 (B♭)
- Bax – The Devil that Tempted St. Anthony (F)
- Brahms – Jägerlied Op. 66/4 (C)
- Brahms – Rhapsody Op. 119 No. 4 in E♭[3]
- Busoni – Sonatina No. 6 in A, BV 284
- Chopin – Nocturne Op. 32 No. 1 in B[4] (ending sometimes changed to major)
- Fibich – Malířské Studie (Studies on Painters), No. 2, Spor Masopustu s Postem (The Fight Between Carnival and Lent) in C
- Franck – Fantaisie in A, from Trois Pièces for organ (1878) (A)
- Fuchs – Andante grazio and Capriccio Op. 63 (A)
- Heidrich – Variations on "Happy Birthday" (C)
- Lalo – Fantaisie norvégienne in A
- Lecuona – La 32, No. 6 of Siete Danzas Cubanas Tipicas (G♭-f♯)
- Mendelssohn – Andante Cantabile e Presto Agitato in B[5]
- Mendelssohn – Capriccio brillante for piano and orchestra in B, Op. 22 [6]
- Mendelssohn – Capriccio in E, Op. 118 (1837) [5]
- Mendelssohn – Characteristic Piece Op. 7 No. 7 in E (a "reverse Picardy third")[7]
- Mendelssohn – Rondo Capriccioso in E, Op. 14[5][8]
- Purcell – Awake, ye dead, Z. 182 (C)
- Purcell – The earth trembled, Z. 197 (A)[9]
- Purcell – Love arms himself in Celia's eyes, Z. 392 (C)[10]
- Purcell – Oh! fair Cedaria, Z. 402 (C)
- Purcell – This poet sings the Trojan wars (Anacreon's defeat), Z. 423 (C)
- Rachmaninoff – K Djétjam (To the Children), Op. 26 No. 7, from "Fifteen Romances" of Op.26 (F)
- Reicha – L'Art de Varier, Op. 57 (F)[11]
- Reicha – Fugue, Op. 36 No. 32 (E♭)
- Satie – Gymnopédie No. 1 (D)[12]
- A. Scarlatti – "Se Florindo e fedele" (A♭) (ends on an open octave in an A♭ minor context)
- D. Scarlatti – Keyboard Sonata K. 63 (L. 84) in G ("Capriccio") (ending sometimes changed to major)
- D. Scarlatti – Keyboard Sonata K. 107 (L. 474) in F[13]
- D. Scarlatti – Keyboard Sonata K. 140 (L. 107) in D[14]:165
- D. Scarlatti – Keyboard Sonata K. 182 (L. 139) in A
- D. Scarlatti – Keyboard Sonata K. 206 (L. 257) in E
- D. Scarlatti – Keyboard Sonata K. 297 (L.S. 19) in F[14]:166
- Scriabin – Mazurka in F (1889)
- Schubert – Impromptu Op. 90 No. 2 in E♭[15]
- Schubert – Moment Musical No. 6 in A♭ (ends on an open octave in an A♭ minor context)[16]
- Schubert – Tränenregen (No. 10 of Die Schöne Müllerin) (A)[17]
- Schubert – Die böse Farbe (No. 17 of Die Schöne Müllerin) (B)[18]
- Schubert – Frühlingstraum (No. 11 of Winterreise) (A)[19]
- R. Schumann – No. 17 of Davidsbündlertänze, Opus 6 (B)[20]
- C. Schumann – Romance, op. 5 no. 3 (B)[21]
- Sibelius – Impromptu, Opus 5 No. 6 in E
- Sibelius – Valse triste, op. 44 no. 1 (G)
- Soler – Keyboard Sonata R. 6 in F
- Strauss – Don Juan, Op. 20 (E)[22]
- Tchaikovsky – To Forget So Soon, TH 94 (F)[23]
- Tchaikovsky – Valse-Scherzo Op. 7 in A
Movements from larger works
- Beethoven – Piano trio No. 6 in E♭ major, ii (C)[24]
- Beethoven – Violin Sonata No. 9, "Kreutzer", i (A)[25]
- Lennox Berkeley – Three Pieces for solo clarinet, iii (G)
- Catalani – La Wally, "Ebben, ne andrò lontana" (E)
- Chausson – Piano Trio in G minor, iv (G)[26]
- Chausson – Poème de l'amour et de la mer, i (G)
- Couperin – Pieces de clavecin, Troisieme livre, "L'enjouée" (G)
- Dvořák – Piano Trio ("Dumky") Op. 90 in E minor, v (E♭)
- Fuchs – String Trio Op. 61/1, i (E)
- Handel – Jephtha, "All That Is in Hamor Mine" (G)[27]
- Handel – Messiah, "All We Like Sheep" (F) [28]
- Handel – Serse, "Per dar fine alla mia pena" (G)
- Lalo – Concerto Russe, Opus 29, i (G)
- Lalo – Symphonie espagnole, Opus 21, ii (G)
- Lalo – Symphony in G Minor, ii (scherzo) (E)[29]
- Marais – Sonata à la Marésienne (La Gamme et Autres Morceaux de Simphonie 1723), iii (C)
- Mendelssohn – String Quartet Op. 13, i (A)[30]
- Mendelssohn – String Symphony No. 11, i (F)
- Mendelssohn – Symphony No.5, Op.107 ("Reformation"), i (D)[31]
- Mozart – The Magic Flute, Quintet (Wie? Wie? Wie? Ihr an diesem Schreckensort?), Act II (G)
- Mozart – Sonata for Violin and Piano K. 379, i (G)[32]
- Poulenc – Cello Sonata FP 143, i (E)
- Poulenc – Concert champêtre for Harpsichord and Orchestra, iii (D)
- Poulenc – Concerto for Two Pianos and Orchestra, iii (D)
- Poulenc – Oboe Sonata FP 185, ii (B♭)
- Ries – Piano Concerto No. 3 in C♯ minor, Op. 55, iii (C♯)
- Sibelius – Symphony No. 4 in A minor, Op. 63, iv (A) [33]
- Tchaikovsky – Piano Trio in A minor, Op. 50, iiB (A)[34]
- Vivaldi – Concerto for Strings & Continuo in G, R151 ("Alla Rustica"), i (G)[35]
- Weinberg – String Quartet No. 4 in E♭, Op. 20, iv (E♭)[36]
Multi-movement works
- Alfvén – Symphony No. 2 in D, Op. 11
- Alkan – Sonate de Concert for Cello and Piano in E, Op. 47
- Boieldieu – Harp Concerto in C
- Brahms – Piano Trio No. 1 in B, Op. 8 (both versions)[37][38]
- Couperin – Ordre 12ème de clavecin (E)
- Dvořák – Czech Suite in D, Op. 39 [39]
- Fuchs – Piano Sonata Op. 19 (G♭-f♯) [40]
- Fuchs – String Quartet Op. 58 (E)
- Fuchs – String Trio Op. 61/1 (E)
- Handel – Concerto Grosso Op. 3 No. 6 in D major/minor [41]
- Hummel – Cello Sonata Op. 104 in A[42]
- Lalo – Concerto Russe, Op. 29 in G
- Mendelssohn – String Symphony No. 11 (F)
- Mendelssohn – Symphony No. 4 in A, "Italian"[38]
- Poulenc – Sonata for Clarinet and Bassoon in D, FP 32a
- Rachmaninoff – Suite for Two Pianos No. 2 in C
- Rameau – Suite No. 5 in G major/minor from Nouvelles Pièces de clavecin [43]
- Ries – Cello Sonata Op. 21 in A
- Shostakovich – String Quartet No. 2 in A, Op. 68[44]
- Voříšek – Violin Sonata in G, Op. 5
- Gottfried Weber – Keyboard Sonata in C, Op. 15
- Weinberg – String Quartet No. 4 in E♭, Op. 20[36]
Borderline examples
- Beethoven – Piano Quartet No. 1 in E♭ WoO 36, I and II (E♭)[32] (although two separate movements, they are sometimes played as a pair)
- Beethoven – Piano Sonata in E, Op. 109, i and ii (although two separate movements, they are often played as a pair)
- Borodin – Symphony No. 2 in B minor, I (The major key is not established at the beginning, but the major third is sounded before the minor)
- Meyerbeer – L'Africaine, Recitative and aria ("O Paradis sorti de l'onde"-"Conduisez-moi vers ce navire"), Act IV (G♭-f♯) (technically two separate numbers that flow into each other and are often grouped together)
- Schubert – Piano Sonata in C, D. 840 "Reliquie" (if only the two complete movements are presented, which is what most performers do)
Major/minor works changing the keynote
- Albéniz – Córdoba, No. 4 of Cantos de España, Opus 232 (F-d)
- Alkan – Grande Sonata, op. 33 (D-g♯)
- Alkan – Prière, Op. 66 No. 7 (C-a)
- Beethoven – Cello Sonata No. 4 in C, Op. 102 No. 1, i (C-a)[45]
- Beethoven – String Quartet in e, Op. 59 No. 2 (Rasoumovsky Quartet No. 2), iv (C-e)[46]
- Bernstein – Chichester Psalms (B♭-g)
- Berlioz – Requiem (Grande Messe des Morts), Op. 5, viii, Hostias (G-b♭)
- Bizet – Carmen – Seguidilla (F♯-b)
- Brahms – Du mein einzig Licht, WoO 33 No. 37 (A-f♯)
- Brahms – Vom Strande, Op. 69 No. 6 (F-a)
- Chausson – Poème de l'amour et de la mer (G-d)
- Chausson – Poème de l'amour et de la mer, ii (actually the third movement, counting an unnumbered interlude) (E-d)
- Chopin – Ballade No. 2 (F-a)
- Couperin – Ordre 25ème de clavecin (E♭-c)
- Debussy – Suite bergamasque (F-f♯)
- Dvořák – The Noon Witch (C-a)
- Enescu – Cantabile e Presto for flute and piano, 1904 (E♭-g)
- Enescu – Nocturne e Saltarello for cello and piano, 1897 (F-a)
- Fuchs – Serenade in D Op. 9, ii (B♭-g)
- Handel – Belshazzar, Chorus of Babylonians: "Ye tutelar gods of our empire, look down" (G-e)
- Handel – Concerto Grosso Op. 3 No. 1 (B♭-g)
- Handel – Suite for Harpsichord No. 2 in F, HWV 427, i (F-a)
- Haydn – String Quartet Op. 103 (B♭-d)
- Miriam Hyde – "Marsh Birds" for Flute and Piano (D-b)
- Lalo – Rapsodie norvégienne (A-d)
- Massenet – Piano Concerto (E♭-c)
- Mozart – Die Entführung aus dem Serail (The Abduction from the Seraglio), Aria, "Solche Hergelauf'ne Laffen" (F-a)
- Mozart (completed by Süssmayr) – Requiem, VII. Communio (B♭-d) (ends on an open fifth in a D minor context)
- Mozart – Preludes and Fugues K. 404, v (E♭-c)
- Mussorgsky (completed by Stravinsky) – Khovanshchina (E-g♯)
- Poulenc – Piano Sextet, ii (D♭-a♭)
- Poulenc – Trio pour piano hautbois et basson, ii (B♭-f)
- Satie – Gnossiennes Nos. 5 (G-e) and 6 (F-c)
- Bizet – Symphony in C major, II (F-a)
- Schubert – Die Nonne, D. 212 (A♭-f)
- Schubert – Grablied, D. 218 (A♭-f)
- Schubert – Erster Verlust, D. 226 (A♭-f)
- Schubert – Ritter Toggenburg, D. 397 (F-b♭)
- Schubert – Der Herbstabend, D. 405 (A♭-f)
- Schubert – Klage an den Mond, D. 436 (F-d)[47]
- Schubert – Edone, D. 445 (E♭-c)
- Schubert – Liedesend, D. 473 (E♭-e, both versions)
- Schubert – Didone Abbandonata, D. 510 (E♭-f)
- Schubert – Auf der Donau, D. 553 (Op. 21 No. 1) (E♭-f♯)[48]
- Schubert – Der Pilgrim, D. 794 (Op. 37 No. 1) (D-b, originally E-c♯)
- Schumann – Réplique, No. 8 of Carnaval (B♭-g)[49]
- Schumann – No. 16 of Davidsbündlertänze (G-b)
- Schumann – Kreisleriana, No. 4 (B♭-d) (first edition only)
- Smetana – The Bartered Bride, Aria, "Kdybych se co takového" (B♭-g)
- Tchaikovsky – The Sleeping Beauty – Finale and Apotheosis (D-g)
- Vaughan Williams – Three Shakespeare Songs, "The Cloud Capp'd Towers" (reverse Picardy) (D-f)
Borderline examples
- Schubert – Piano Sonata in C major, D 279 (Schubert) (C-a) (the unfinished Allegretto in C, D. 346, is sometimes thought to be the missing finale of the sonata)
See also
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References
- ↑ The Alkan Society, Bulletin 32: April 1987
- ↑ Alkan: Esquisses Op 63 – Hyperion Records
- ↑ Hindson, Maurice. Brahms – The Shorter Piano Works. Alfred Music Publishing Co. (1992), p. 10.
- ↑ Huneker, James. Chopin: The Man and His Music, Courier Corporation (1960), p. 146.
- 1 2 3 Waltons Music: Mendelssohn Rondo Cappricioso in E major, Op. 14 (Piano)
- ↑ CHAN 2025: An Introduction to Felix Mendelssohn
- ↑ Todd, R. Larry. "Piano Music Reformed: Mendelssohn". Nineteenth-Century Piano Music, ed. Todd, R. Larry, Routledge (2004), p. 191.
- ↑ Du Bose, Joseph. Rondo capriccioso, in E Major, Op. 14 Yakov Flier.
- ↑ Purcell, Harmonia Sacra, Rosemary Joshua – eClassical
- ↑ Hyperion Records – Love arms himself in Celia's eyes, Z392
- ↑ International Piano Quarterly Volumes 5–6, Gramophone Publications (2001), p. 44.
- ↑ Satie – Gymnopedie No. 1 | Classical Piano Pieces
- ↑ Scarlatti: Complete Keyboard Sonatas – Warner Classics, p. 7.
- 1 2 Marshall, Robert. "Domenico Scarlatti". Eighteenth-Century Keyboard Music, Routledge (2004).
- ↑ BBC Music Magazine: Schubert Moments Musicaux D780
- ↑ Franz Peter Schubert – Moments Musicaux , D. 780
- ↑ Wollenberg, Susan. Schubert's Fingerprints: Studies in the Instrumental Works, Ashgate Publishing Ltd (2011), p. 24.
- ↑ Damschroder, David. Harmony in Schubert, Cambridge University Press (2010), p. 104.
- ↑ Howell, Cory. Schubert's Winterreise Song Cycle, p. 10.
- ↑ Hatten, Robert. Performing Expressive Closure in Structurally Open Contexts: Chopin’s Prelude in A minor and the Last Two Dances of Schumann’s Davidsbündlertänze
- ↑ Cooper, Imogen. Chandos – Imogen Cooper – CHAN 10841
- ↑ BBC – Proms – Programme note Strauss – Don Juan
- ↑ Osborne, Charles. The Concert Song Companion: A Guide to the Classical Repertoire, A Da Capo (1985).
- ↑ Wigmore, Richard. Beethoven: The Complete Music for Piano Trio, The Florestan Trio – Hyperion Records
- ↑ Spitzer, Michael. Music as Philosophy: Adorno and Beethoven's Late Style, Indiana University Press (2006), p. 136.
- ↑ Chausson, E.: Concert for Violin, Piano and String Quartet / Piano Trio (Meadowmount Trio, Wihan String Quartet) – Naxos
- ↑ Hicks, Anthony. "Late Additions to Handel's Oratorios". Music in Eighteenth-Century England: Essays in Memory of Charles Cudworth, ed. Hogwood, Christopher and Richard Luckett, Cambridge University Press (1983), p. 150.
- ↑ Kreuger, Stephen. Handel's Messiah Untold
- ↑ Deruchie, Andrew. The French Symphony at the Fin de Siècle: Style, Culture, and the Symphonic Tradition, Boydell & Brewer (2013), pp. 114–15.
- ↑ Wilson, Conrad. Notes on Mendelssohn: 20 Crucial Works, Wm. B. Eerdmans Publishing (2005), p. 30.
- ↑ Todd, R. Larry. "Wanderlust". Mendelssohn Studies, Cambridge University Press (2006), p. 225.
- 1 2 Kerman, Joseph. "Beethoven's Minority". Write All These Down: Essays on Music, University of California Press (1994), p. 220.
- ↑ Redwood Symphony Program Notes: Sibelius, Symphony No. 4
- ↑ Piano Trio in A minor, Op. 50 (Tchaikovsky) – from CDH55322 – Hyperion Records
- ↑ Vivaldi: Concertos for Strings – Naxos
- 1 2 Classical Net Review – Weinberg – String Quartet #4 & 16
- ↑ Donat, Misha. Hyperion Records: Trio for piano, violin and cello in B major, op. 8
- 1 2 Hepokoski and Darcy. "The Three- and Four-Movement Sonata Cycle". Elements of Sonata Theory (Oxford University Press, 2006). p. 336.
- ↑ Robertson, David. Sydney Symphony Orchestra – 2015 Season
- ↑ Fuchs: Piano Sonatas Op. 19 and Op. 88 – Naxos
- ↑ Amazon.com: George Frideric Handel, Concerto Grossi
- ↑ Hummel: Piano Trios / Piano Quartet in G major / Cello Sonata – Naxos
- ↑ Gíslason, Donald G. Vancouver Recital Society: Program Notes – Emanuel Ax
- ↑ Bell, John. Fejes Quartet: Sunday 8 June 2014 at 7:30pm – Music Nairn
- ↑ Stanley, Glenn. "Goal Directedness in Beethoven's Music". The Cambridge Companion to Beethoven, Cambridge University Press (2000), p. 93.
- ↑ Steinberg, Michael. "The Middle Quartets", The Beethoven Quartet Companion, Winter, Robert and Robert Martin, ed. University of California Press (1994). p. 188.
- ↑ Puchi, Richard Navarrete. Performance and Analysis of Lieder.
- ↑ Platt, Heather. Schubert's Poets and the Making of Lieder. – Free Online Library
- ↑ Wadsworth, Benjamin K. MTO 18.4: Wadsworth, Directional Tonality in Schumann's Early Works
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