Uploaded October 2025 | Updated September 2026, 2 weeks ago
Performed by Viller Valbonesi.
I - Andante con moto tranquillo: 0:00
II - Allegro capriccioso: 4:10
III - Larghetto - Allegro vivace: 7:05
Rudorff's Three Romances (Drei Romanzen) were begun on April 10 of 1898, during a stay in Palanga, Lithuania. The dates of composition of the other two romances are not known, but the complete opus, which like all those still to follow was published by Albert Stahl, was indicated in Hofmeister’s Handbuch der musikalischen Literatur in January 1904. Premiere date and performer involved are currently unknown.
Born in Berlin, Rudorff studied piano under Woldemar Bargiel between 1852-7, before enrolling at the Leipzig Conservatory in 1859, where he studied under Ignaz Moscheles, Louis Plaidy, and Julius Rietz. He was also a private pupil of Moritz Hauptmann and Carl Reinecke. Having grown up in the tradition of Felix Mendelssohn and Robert Schumann, Rudorff was sceptic about Franz Liszt and his school. His commitment to Viennese Classicism is reflected in his collaboration on the complete edition of the works of Wolfgang Amadé Mozart. Carl Maria von Weber and Frédéric Chopin, whom he also admired, also found in him a conscientious editor. These names outline the background from which Rudorff's own work began.
The first romance is written in form of an arch. It begins with a melodic main theme in D major, which unfolds in an intimate but expressive way. A dramatic climax is reached in the middle part, before the material is recapitulated. The movement ends with a delicate and nostalgic coda.
The second romance is structured in ternary form. It opens with a rhythmic main theme, which as the tempo mark indicates, unfolds in a capricious way. The central section brings a more melodic, dance-like second theme that offers contrast. The main theme is then recapitulated, and when it seems the second one is going to be repeated as well, the movement ends with a gentle coda.
The third romance is written in binary form. It opens with a slow, almost dubitative larghetto, which seems to build towards an ultimately unresolved climax. After a brief pause, the allegro vivace features a rushing and lively theme, briefly developed before ending the work with a deliberate coda.
Picture: "Portrait of Sonja Knips" (1898) by the Austrian painter Gustav Klimt.
Musical analysis written by myself. Source: tinyurl.com/24lpgjt5
To check the score (only the first romance available sadly): tinyurl.com/24ajvo5q
Performed by Viller Valbonesi.
I - Andante con moto tranquillo: 0:00
II - Allegro capriccioso: 4:10
III - Larghetto - Allegro vivace: 7:05
Rudorff's Three Romances (Drei Romanzen) were begun on April 10 of 1898, during a stay in Palanga, Lithuania. The dates of composition of the other two romances are not known, but the complete opus, which like all those still to follow was published by Albert Stahl, was indicated in Hofmeister’s Handbuch der musikalischen Literatur in January 1904. Premiere date and performer involved are currently unknown.
Born in Berlin, Rudorff studied piano under Woldemar Bargiel between 1852-7, before enrolling at the Leipzig Conservatory in 1859, where he studied under Ignaz Moscheles, Louis Plaidy, and Julius Rietz. He was also a private pupil of Moritz Hauptmann and Carl Reinecke. Having grown up in the tradition of Felix Mendelssohn and Robert Schumann, Rudorff was sceptic about Franz Liszt and his school. His commitment to Viennese Classicism is reflected in his collaboration on the complete edition of the works of Wolfgang Amadé Mozart. Carl Maria von Weber and Frédéric Chopin, whom he also admired, also found in him a conscientious editor. These names outline the background from which Rudorff's own work began.
The first romance is written in form of an arch. It begins with a melodic main theme in D major, which unfolds in an intimate but expressive way. A dramatic climax is reached in the middle part, before the material is recapitulated. The movement ends with a delicate and nostalgic coda.
The second romance is structured in ternary form. It opens with a rhythmic main theme, which as the tempo mark indicates, unfolds in a capricious way. The central section brings a more melodic, dance-like second theme that offers contrast. The main theme is then recapitulated, and when it seems the second one is going to be repeated as well, the movement ends with a gentle coda.
The third romance is written in binary form. It opens with a slow, almost dubitative larghetto, which seems to build towards an ultimately unresolved climax. After a brief pause, the allegro vivace features a rushing and lively theme, briefly developed before ending the work with a deliberate coda.
Picture: "Portrait of Sonja Knips" (1898) by the Austrian painter Gustav Klimt.
Musical analysis written by myself. Source: tinyurl.com/24lpgjt5
To check the score (only the first romance available sadly): tinyurl.com/24ajvo5q
