Uploaded October 2025 | Updated September 2026, 2 weeks ago
Performed by Viller Valbonesi.
I - Presto: 0:00
II - Allegro con brio molto vivace: 2:20
Rudorff's Two Concert Études were composed on 1878, each being dedicated to two piano students of him at the Royal School of Music in Berlin; the first for Friedrich Grabau (1840-84), and the second to Heinrich Barth (1847-1922). These études were initially published separately in 1879, the first by Budapest publisher Rózsavölgy while the second by Berlin publisher Bote & Bock. However, these works were conceived as a pair. The premiere date and performers involved are currently unknown.
The second étude was particularly praised by critics. A performance by the dedicatee on April 9 of 1889, in the hall of the Royal School of Music prompted William Wolf in a review to describe it as "original, delightful and effective piece, incidentally very difficult". The publication of the first étude led to an encounter between Rudolff and Liszt, who played the piece shortly before his death. 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 étude is monothematic in form. It opens with a rhythmic main theme in B minor in piano, presented in piano before being subjected to a contrapuntal and virtuosic development. Then the material begins to modulate towards different keys in dramatic fashion, before ending with a resolute major key coda.
The second étude is rather free in form, resembling sonata form. It begins with a marked and dance-like main theme, soon contrasted by a more graceful and elegant second theme. What follows can be interpreted as a transition or extremely concise development, leading to a short recapitulation of the main theme. A quieter section offers dynamic contrast, in turn leading to the recapitulation of the second theme. A very varied recapitulation of the main theme (or second development) ends the work with a firm coda.
Picture: "The Orange Trees" (1878) by French painter Gustave Caillebotte.
Musical analysis written by myself. Source: tinyurl.com/24lpgjt5
Unfortunately, the score is not freely available.
Performed by Viller Valbonesi.
I - Presto: 0:00
II - Allegro con brio molto vivace: 2:20
Rudorff's Two Concert Études were composed on 1878, each being dedicated to two piano students of him at the Royal School of Music in Berlin; the first for Friedrich Grabau (1840-84), and the second to Heinrich Barth (1847-1922). These études were initially published separately in 1879, the first by Budapest publisher Rózsavölgy while the second by Berlin publisher Bote & Bock. However, these works were conceived as a pair. The premiere date and performers involved are currently unknown.
The second étude was particularly praised by critics. A performance by the dedicatee on April 9 of 1889, in the hall of the Royal School of Music prompted William Wolf in a review to describe it as "original, delightful and effective piece, incidentally very difficult". The publication of the first étude led to an encounter between Rudolff and Liszt, who played the piece shortly before his death. 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 étude is monothematic in form. It opens with a rhythmic main theme in B minor in piano, presented in piano before being subjected to a contrapuntal and virtuosic development. Then the material begins to modulate towards different keys in dramatic fashion, before ending with a resolute major key coda.
The second étude is rather free in form, resembling sonata form. It begins with a marked and dance-like main theme, soon contrasted by a more graceful and elegant second theme. What follows can be interpreted as a transition or extremely concise development, leading to a short recapitulation of the main theme. A quieter section offers dynamic contrast, in turn leading to the recapitulation of the second theme. A very varied recapitulation of the main theme (or second development) ends the work with a firm coda.
Picture: "The Orange Trees" (1878) by French painter Gustave Caillebotte.
Musical analysis written by myself. Source: tinyurl.com/24lpgjt5
Unfortunately, the score is not freely available.
