PROGRAM.Gottschalk-Weber:Overture to "Oberon." Four hands.Mason:Amitie pour Amitie. (Available for four hands if preferred.)Air and Variations Grotesques. "Ah Vous Dirais-je Maman."Spring Dawn Mazurka.Reverie Poetique.Gottschalk:Marche de Nuit.The Banjo. (Negro Sketch.)Song, "Slumber On."Mason:Eight Duets for Teacher and Pupil. (Ditson Co.) Four hands.March and Waltz for Teacher and Pupil. Four hands.Gottschalk:Aeolian Murmurs.The Last Hope.Mason:The Tocctina.Reverie, "Au Matin.""The Silver Spring."Gottschalk-Rossini:The Overture to "William Tell." Four hands.
By general consent of music lovers and connoisseurs, Mr. Edward Alexander MacDowell, or Prof. MacDowell as he should now be called, is the most finished and accomplished writer for the pianoforte that we have. Mr. MacDowell was born in New York on the 18th of December, 1861, and after having some instruction from his mother, who was a good musician, he received lessons for a while from Teresa Carreno. In 1877 he went to Paris and became a pupil of Marmontel and Savard. Later on he went to Frankfort-on-the-Main, where he studied composition with the late Joachim Raff and piano playing with Carl Heymann. In this manner five years of European student-life passed, and in 1888 he was made piano teacher at the Darmstadt Conservatory; he remained there only one year, in 1882 going to Weisbaden, where his position was a very distinguished one. In 1888 he returned to America and located in Boston, where he immediately succeeded to an extremely fine clientele. In Boston Mr. MacDowell naturally found very congenial surroundings. He lived on West Cedar Street, a few doors from Arthur Foote, well down on the slopes of Beacon Hill, a short distance from the Common and not very far from Charles Street. The aristocratic desirability of this particular location in Boston is measured by its remoteness from street cars and all means of public transit. This, however, is a mere detail. In 1896 Mr. MacDowell was appointed professor of music at Columbia University, after negotiations extending over several months.
It is impossible to read over the list of Mr. MacDowell's published works without realizing at once that here we have a composer of no small fertility of idea and great seriousness and ambition of purpose. The list from which I take the following particulars is, no doubt, incomplete, since it reaches only to opus 50, which work was published in 1895. But the list contains four symphonic poems for orchestra, the First Suite, scored for orchestra, and the Second, or "Indian" Suite,—in all, six large works for orchestra. There are two concertos for pianoforte and orchestra, both of which have been played very successfully, the first one many times over by Mme. Carreno and by Mr. MacDowell himself. There is a romance for 'cello and orchestra; two numbers of four-hand pieces, originally so composed; twelve books of songs; and quite a long list of pieces for the pianoforte.
To take the more important of the latter, there are, first, twelve studies, opus 39, which are of various lengths, from two to six pages each; in part fancy pieces for the piano, and in part intended to serve as exercises in different styles of playing. Then there are twelve virtuoso studies, opus 46, much more difficult than the preceding and very interesting and marked in their characteristics. There are six Idylles, opus 28, and quite a number of other small pieces for piano, of no great ambition, but all poetic and seriously done. The most popular of the purely pianoforte pieces, perhaps, is the "Witches' Dance," which has the advantage of being a most excellent finger study. The only drawback to this piece is the rather commonplace character of the melody which serves as middle piece. This, however, is somewhat concealed by the cleverness of the treatment.
Of all the piano works, the three upon which Mr. MacDowell's reputation in the higher musical circles will rest are his First Suite and his two sonatas, the one called "Tragic," the other "Heroic." The First Suite dates from the time when he was with Raff at Frankfort, and it was published in Germany by Breitkopf and Hartel. It is perhaps modeled somewhat on a suite by Raff. The first movement, praeludium, is quite in the old style at first. Presently, a flowing melody in the bass begins against a pianissimo, arpeggiated accompaniment in the right hand, with a very charming and thoroughly pianistic effect, and the praeludium is carried through on this motive. The second movement, presto, is practically a scherzo with a strong flavor of fugue at the beginning. It is very fully developed, extending to eight pages. Then follows the slow movement, andantino and allegretto, bearing a motto, "Per arnica silentia lunae" (Virgil); and "by the friendly silence of the moon" the sweet cantilena goes on, now for soprano, now for tenor. The middle piece is of a more dramatic character perhaps. This is followed by an intermezzo, like a quick minuet, which is very successful; and this in turn by a rhapsody, which bears a motto from Dante's "Inferno," "Those who enter here leave hope behind"—surely not a very inviting suggestion to the student who takes it for the first time. Fortunately the period when hope forsakes the reader is short, being really of only one page, after which a sort of mitigated grief ensues, and in another page this movement ends. Then follows the finale—a fugue in E major, well made and effective but by no means easy to play. At the end of the fugue there is a coda of a stormy character.
This suite, as a whole, is a very brilliant piano piece, and also difficult to play; but it is musical and well done and therefore worth playing.
The latest of his large works in a serious form is the second sonata, called the "Eroïca." This is designated by the composer as a "flower from the realm of King Arthur," and it is dedicated to Dr. William Mason. Beginning very seriously and slowly, it almost immediately rises to intense vigor, which, after a while, gives place to a second subject—a song-melody in the folk-tone; and out of these two ingredients—or three, more properly (the motive of the first page, the second page, and the song-form already noticed)—the movement is carried to completion. It is very difficult to play, but when well done is effective and serious. The second movement is a very playful scherzo, which is designated as elf-like—as light and swift as possible. The third movement is designated "tenderly, longingly, yet with passion"; the hero is now in love, very much so; his being is stirred to its utmost core; his rhythm is shaken up so that two's and three's intermingle in the most inviting confusion; and his harmonic foundations are also subjected to fast and loose experiences very trying to the outsider who would represent all this inner commotion. Nevertheless the movement, when well done, is very lovely. The finale is designated "fiercely and very fast"—a very strong and tumultuous movement.
Throughout his career as a composer Mr. MacDowell has placed great importance upon the advantage a composer gains from a poetic standpoint or conception. He has often maintained that one could write better music if inspired by poetry than when he merely gives rein to his musical fancy, as such; and that, in fact, the only salvation for the modern composer, and his only protection from falling into mere rhapsody, is in having a poetic story in mind to which the music should conform. Accordingly, in all these large works of Mr. MacDowell's, especially in the two sonatas, and perhaps even more so in the second than in the first, the transitions of mood in the music are very noticeable indeed, and the work needs to be played with a great deal of taste as well as mastership in order to prevent it from having a certain fragmentary effect. This, in the production of a composer so masterly in musical treatment as Mr. MacDowell, is rather curious, and I have never been able fully to account for it. The disposition to lean on poetic suggestion is very evident in the books of studies already mentioned. For instance, in the opus 46 there are such titles as "Wild Chase," "Elfin Dance," "March Wind"; and in the former book the "Dance of the Gnomes," "The Shadow Dance," "In the Forest"; in the opus 37, "By the Light of the Moon," "In the Hammock," "Dance Andalusian "; in the opus 32,—entitled "Four Little Poems,"—"The Eagle," "The Brook," "Moonshine," "Winter"; then, again, in the latest of Mr. MacDowell's works which I have seen—the "Woodland Sketches," opus 51—there are ten little pieces, with such titles as "To a Wild Rose," "Will o' the Wisp," "At an old Trysting Place," "In Autumn," "From an Indian Lodge," "To a Water Lily," "From 'Uncle Remus,'" "A Deserted Farm," "By a Meadow Brook," "Told at Sunset." These titles may or may not have been in the mind of the composer at the moment of producing the work. It is quite possible that a significant musical idea, upon being developed, suggested the name, and that the fanciful name was taken for the sake of the student. These "Woodland Sketches" in particular are very simple pieces indeed, rarely presenting difficulties beyond the fourth grade, and all of them musical.
Mr. MacDowell has also shared the opinion of many writers that something new is to be reached by the modern composer from the suggestion of characteristic folk-songs, and in his "Indian" Suite he has made use of themes derived from the North American Indians or suggested by some of their melodies. The "Indian" Suite is undoubtedly a very beautiful and poetic work for orchestra. I can not say that I find it better by reason of its barbarous themes, but the treatment of those themes has in it nothing that is barbarous, but, on the contrary, everything that is highly finished and polished, with a keen sense of the comely and well sounding.
On the whole, therefore, considering the mastery with which he has worked out his different pieces, and the characteristic and modern manner in which his poetical suggestions are realized upon the piano, we are obliged to take Mr. MacDowell very seriously, and to rank him among the first of writers at the present time. As he is still a young man, and has accepted the professorship of music at Columbia primarily for the purpose of having more leisure for composition, other and greater works ought to follow from his pen. I have been informed that he has in hand, or already finished, a symphony for full orchestra, and no doubt his portfolio contains a multitude of other pieces which as yet he is not ready to give to the world. Many of the songs which he has published are upon his own verses, and some of them are very beautiful. In fact, you will rarely find eight songs together so pleasing and well worth knowing in every way as the "Eight Songs" by Mr. MacDowell, opus 47.
At the same time, there is a certain amount of make-believe in these fantastic titles for piano pieces, which, after all, can be nothing else than more or less legitimate developments of certain musical motives, as such; and can be satisfactory only in proportion as the ideas are legitimately unfolded and adequately treated, and contrasted with other material. Even the marks of expression are arbitrary, a very amusing illustration of which I am able to give from my own experience. It happened some months ago that an out-of-town pupil, connected with a musical club, brought me a program of MacDowell's works which she had to play at one of the club meetings, and in the list was the difficult chord study entitled "March Wind." This was marked pianissimo. It is rather a difficult thing to bring down to smoothness, and I spent a great deal of time in getting it played softly, in order to represent the distance of the wind and the rise and fall of the intensity. A few days later Mr. MacDowell played a recital in Chicago, and among the other selections was this same "March Wind," which he played fortissimo throughout. When I saw him the next day I began, in that irreverent manner which critics and composers have with one another (for Mr. MacDowell was not yet a professor): "You're a fine fellow! To mark your own 'March Wind' pianissimo and then play it fortissimo. What's the good of my working two hours with a pupil to get it down fine when you upset everything by playing it in this tumultuous way?" To which Mr. MacDowell answered: "Did I mark that pianissimo? When I got ready to play it I could n't remember whether it was pianissimo or fortissimo, and I said, 'March Wind,' 'March Wind,' that must be very loud and roaring; and so I played it fortissimo."
But however this may be, it can be said of Mr. MacDowell that he has illustrated his talents as a composer in a wide variety of styles, and always in a delicate and finished manner. He is, therefore, a composer to be treated seriously, and to be looked up to as a master, with an expectation of even more beautiful and satisfactory works still to follow.
I. First Suite. Opus 10.Praeludium.Presto.Andantino and Allegretto.Intermezzo.Rhapsodie.Fugue.2. Woodland Sketches."To a Wild Rose.""Will o' the Wisp.""At an Old Trysting Place.""In Autumn.""From an Indian Lodge.""To a Water Lily.""From 'Uncle Remus'.""A Deserted Farm.""By a Meadow Brook.""Told at Sunset."3. Two Songs from Opus 33."Cradle Hymn.""Idyll."4. Selections from Opus 39."Romance.""Arabeske.""In the Forest.""Idylle.""Shadow Dance.""Witches' Dance." Opus 17, No. 2.5. Eight Songs. Opus 47."The Robin Sings in the Apple-tree.""Midsummer Lullaby.""Folk-song.""Confidence.""The West Wind Croons in the Cedar Trees.""In the Woods.""The Sea.""Through the Meadow."6. Sonata, "Eroïca." Opus 30.
There is nothing especial in common between the composers here mentioned that they should be put together in one program, excepting the fact that they both live in Boston; nor, on the other hand, is there anything especially contrasting between them. For this reason I think it better to give the selections of the different composers separately, leaving the superintendent of the concert to arrange the program of selections in any order most pleasing to him.
Arthur Foote was born of a good New England family at Salem, Mass., March 5, 1853. He pursued the usual course of a well-bred New England boy, passing successively through the district school and academy, and at length graduated at Harvard in 1874. He had already made considerable study of music, both upon instruments and in theory, and under the competent instruction of Mr. Stephen A. Emery had made considerable progress in composition.
He now entered seriously upon the study of music, with the intention of making it a life-long profession. His teachers were Mr. B. J. Lang, in organ and pianoforte playing, and Prof. J. K. Paine, in composition. In 1875, after examination, he received from Harvard the degree of A.M. in music. Since 1876 he has been engaged as a successful teacher of the pianoforte in Boston, and since 1878 has been organist of the First Unitarian Church in Boston. In daily work, as an interesting and stimulating instructor in art, Mr. Foote leads an honored life; but he is better known to the outside world by his compositions, which indicate talent of a high order. The range of them and the variety are alike remarkable.
Among his important compositions are to be mentioned an Impromptu (G minor); Gavotte (B minor); Mazurka (G minor); Opus 6, consisting of five pieces; Prelude and Nocturne (F minor and F major); Sarabande (G major); Petite Valse (for the left hand); Polonaise (D major) and Gavotte in C minor (Opus 8, No. 1); Eclogue (Opus 8, No. 2); Suite in D minor (Opus 15), containing Prelude and Fugue, Romance and Capriccio; Sarabande and Courante of J. S. Bach (transcribed); two Pianoforte Pedal Studies; Études Album, a collection of études, selected and arranged in progressive order; and Additions to Buttshardt Method of Pianoforte Technic.
I do not find myself very well prepared to make a program of compositions of Mr. Foote which fully satisfies. The best I can do with the material I have is the following, which is offered to those needing it as a suggestion:
PROGRAM.Five pieces for piano. Opus 6.Prelude and Nocturne.Sarabande.Petite Valse. (For left hand alone.)Polonaise.Three pieces for piano. No opus number.Impromptu in G Minor.Gavotte in B Minor.Sarabande and Courante from the Violoncello Sonatas of Bach.Arranged by Arthur Foote.
The pieces here listed will occupy about forty minutes in performance. All of this music is seriously intended, all is well done, and all musical. Naturally, the best pieces are the last, since the experienced composer, Mr. Bach, had already laid the foundation, and his music has had a longer time to ripen and grow a halo.
In addition to the foregoing program of works by Mr. Arthur Foote, following is a selection of songs which can be confidently recommended as attractive and valuable additions to these illustrative programs, and as well worthy the widest possible currency on their own account:
"Into the silent land.""O my love's like a red, red rose.""If you become a nun, dear.""A song from the Persian.""In Picardie.""O swallow, swallow, flying south.""On the way to Kew.""When icicles hang by the wall.""Irish folk-song.""I'm wearing awa'.""Go, lovely rose."
The first one in the above list is a very lovely quartet for female voices—originally composed for funeral occasions—upon Longfellow's translation of the song by Silas. It is a very beautiful quartet. The "Song from the Persian" is a duet for soprano and alto or baritone, preferably baritone, of an unusual, but on the whole pleasing, character. "O my love's like a red, red rose" is very charming, indeed, but perhaps best of the entire list is the soprano song, "O swallow, swallow, flying south," which is dedicated to Mme. Lilian Blauvelt.
Several of these selections are to be had for a low voice or a high voice, but most of them are for mezzo-soprano or baritone. There is one for bass, "When icicles hang by the wall," and one for alto, "I'm wearing awa'," and of the collection as a whole, I say again, it is an honor to American art. They are songs that are extremely well worth knowing.
Mrs. H. H. A. Beach, whose maiden name was Amy Marcy Cheney, of Boston, was the daughter of a well-known singer and pianist. Her talent for music showed itself in extreme youth, and at the age of six her real study began. Among her teachers were Ernst Perabo, Carl Baerman, and Julius Hill. She is a pianist of accomplished powers and a composer of remarkable talent. It is told of her that on one occasion she played the Schumann concerto with the Boston Orchestra at a week's notice, in place of a soloist who had canceled an engagement at the last moment. On another occasion she played her own pianoforte concerto with the orchestra with splendid effect. Last year her "Gaelic Symphony," in E minor, was played in Boston and also in Brooklyn by the Boston Orchestra. Her instrumentation is said to be excellent and the work a very strong one.
Among the many clever compositions of Mrs. Beach's the following are perhaps the most suitable for our use:
Ballad for the pianoforte, dedicated to Mme. Fanny Bloomfield-Zeisler; a seriously made composition with a beautiful principal melody, cleverly developed, and a good deal of dramatic power in the working out of the middle part. A composition of considerable difficulty for the player, and also capable of very excellent effect when well done.
There are also four sketches—"In Autumn," "Dreaming," "Phantoms," "Fireflies." "In Autumn," a very sprightly composition in F-sharp minor, in a good 4/8 rhythm, capable of very charming effect. "Dreaming," a meditative sustained melody in the key of G-flat, resting upon a triplet motion in the middle part, with harmonies sensitively changing at unexpected places, capable of most beautiful effect; also an excellent study in cantabile. "Phantoms," a scherzo or quasi-mazurka, very sprightly and pleasing. "Fireflies," a very delightful study in thirds for the right hand, with novel and modern fingering; therefore extremely well adapted for study. This, when well done, must be very beautiful, but it is necessary that the thirds be played with the utmost lightness and equality. It is more difficult, and also more extended than either of the preceding, but extremely well worth attention.
There are also three interesting pieces not so difficult in their working out. First, there is a "Barcarolle" in G minor, opus 28, No. 1; a very attractive rhythm and an extremely attractive harmonic treatment. This is a piece to be played with pleasure by any amateur of taste. It is only of moderate difficulty, as, for instance, sixth grade. Perhaps a little less attractive, but more easy of execution, is the "Menuet Italien," No. 2 of the same opus as the preceding. This is remarkably well worked out, however. The third piece in the same opus is a waltz, "Dance of the Flowers," bright, sparkling, evanescent; clever for the piano, and attractive if well done.
Best of all, perhaps, is a "Romance for Violin and Piano," which is dedicated to Miss Maud Powell. This is a very delightful piece, and would make an admirable conclusion to a program. It requires good playing in all the parts.
With reference to these compositions by Mrs. Beach, it deserves to be said that they are not women's compositions. The musical spirit is unquestionable, the technic of developing ideas that of a well-trained artist, and the writing for the instrument that of an accomplished pianist. At the same time, Mrs. Beach makes no effort to be boisterous and to prove that she is a man by the brute force necessary to play her works. Unless I am very much mistaken, her music will have a much wider currency than it has yet received, because it deserves it.
For the convenience of clubs and classes desiring programs not so difficult of performance and not confined to one or two composers, the following is offered, embracing examples from Messrs. Edgar S. Kelley, Wilson G. Smith, Homer A. Norris, E. R. Kroeger, Geo. W. Chadwick, and Mr. William Sherwood. All of these gentlemen have made thorough studies of composition and several of them have exercised themselves in the larger forms, including orchestral and chamber writing. This is particularly true of Messrs. Chadwick, Kroeger, and Kelley.
Mr. Edgar Stillman Kelley was born April 14, 1857. He is a native of Wisconsin, and was formerly a pupil of Mr. Clarence Eddy, after which he studied in Stuttgart. He has produced quite a large number of orchestral pieces but only a small number for the pianoforte alone. I believe that dramatic music is his main delight. He is also a lecturer upon musical subjects, bringing to his task a large amount of knowledge upon the subject and plenty of enthusiasm.
I have here only two examples of his work. The first is entitled the "The Flower Seekers," a very pretty and melodious scherzo, having a motto from Chaucer's "Court of Love":
"Fourth goeth al the court, both moste and leste,To feche the flowers freshe, and branche and blome."
The second is entitled "Confluentia" and the motto upon it: "Here is the conflux of the Rhine and the Mosel. This led the Romans to call the city 'Confluentia.' These streams—which rise in regions so remote—are here united until they pass into the eternal sea beyond."—Hans van Brechnowski(David Rockwell).
It is a piece in nocturne style with a melodious voice coming in all sorts of forms, a little in the style of the well-known Schumann "Warum."
Mr. Wilson G. Smith is a native of Ohio, educated under Otto Singer in Cincinnati, and at Berlin. He is a pianist and composer and has published a very large number of pieces (something like 150) among which it is quite possible more attractive selections could be found than those upon the present program; still, these are the best I know of his. His work is light, melodious, and pleasant to play. The list from Mr. Smith comprises several very pleasant pieces. The "Valse Menuet," opus 43, No. 1; the "Reverie at the Piano," a sort of song without words; the second, "Polka Caprice," which is very bright and pleasant; and the "Marche Fantastique," opus 73, which is more brilliant and diversified in its style than the others.
Mr. Ernest Kroeger is a native of St. Louis and received his education there. He has written a large number of pieces for the piano (eighty or more), many songs, and quite a list of chamber and orchestral compositions.
I have here three Sonnets. The first one is in G minor, a sort of cheerful nocturne, with nice melody and good musicianship. There is a vein of melancholy about it. The next one, allegretto in B minor, is very charming, and the last one is the strongest of all, I think. If a stronger representation of Mr. Kroeger's art is desired, his first suite for the piano can be taken.
Mr. Emil Liebling is better known as a teacher and pianist than as a composer, but it has been his good fortune to win high commendation for the few works he has published. He made his studies in composition under the late Heinrich Dorn, the same who was the master of Schumann in composition—though this may be no more than a coincidence. Mr. Liebling, although born in Berlin, has resided in the United States for nearly thirty years. He is essentially American. The two Romances represent the most serious side of his work, in addition to which I have put on that very popular little scherzo, "Spring Song," and a very pleasing parlor waltz.
Mr. William Sherwood, the distinguished pianist, is not generally known as a composer, but in any other country than this his strong tendency toward composition would have found encouragement, and he would have been well known and probably as distinguished in this department as he is now in playing. I have placed Mr. Sherwood's compositions last because they are the strongest of any in the list, and also the most difficult; when well played they are very effective and deserve to be better known than has hitherto been the case.
The songs upon this program represent two other composers. At the head of the list are placed some highly impassioned compositions by Mr. Geo. W. Chadwick, of Boston. Mr. Chadwick is one of the most accomplished American composers. From this set of songs, called "Told in the Gates," selections are to be made at the convenience of singers.
The collection, as a whole, is one of the most remarkable of recent times. It would be difficult to find twelve equally stirring songs in the whole repertory. The key-note is set by the very first song, "Sweetheart, Thy Lips are Touched with Flame," and in examining it one hardly knows what to admire most, the symphonic skill of the accompaniment, the placing of the emphasis for voice, or the intimate feeling for musical expression, which enables the composer to arrive at such thrilling effects. At the same time it is not a song for a timid singer or a timid player. The second one, "Sings the Nightingale to the Rose," is of a more quiet and reposeful character, well written. The third, "The Rose Leans over the Pool," a delightful scherzando, in which playful spirit and skilful use of material combine to produce its effect. The fourth, "Love's Like a Summer Rose," is a very charming song indeed for more ordinary occasions; well within the resources of ordinary singers, but with an effect very unusual. The next, "As the Waves without Number," a baritone song with a very elaborate accompaniment and the usual masterly opportunity for the singer. "Dear Love, when in Thy Arms I Lie," a slow and very expressive melody, with a delightful bit of obligato in the first measures, where a 'cello would produce a charming effect; modeled a little after a song of Schumann's, "Poet's Love":
"Was I not Thine when Allah Spoke the WordWhich Formed from Earth the Sky?"
A colossal song for baritone, having in it tenderness and most intense passion.
"In Mead where Roses Bloom," adapted for mezzo-soprano.
"Sister Fairest, why Art Thou Sighing?" a gem adapted for the female voice.
"O Let Night Speak of Me," dedicated to Max Heinrich.
"I Said to the Wind of the South," dedicated to Miss Edmunds. A song for mezzo-soprano, beautifully done.
It is difficult to speak of these songs in any kind of adequate terms, because they represent what very rarely happens nowadays: a very perfect union of music and poetry. The poetry for its own part being singularly impressive and provocative of song; and the music, in turn, sympathetic, masterly, and equal to the occasion; considered, therefore, from an ideal point of view, as to the poetic expression of musical moods or as the musical expression of poetic moods, both alike retaining the deepest and strongest sentiments, nothing lately has pleased so well. All the poems are by Arlo Bates. It is a collection of songs which every American lover of music ought to possess.
The other songs I take from a set by Mr. Homer A. Norris, a young but very talented and promising composer. The first is called "Twilight," and a lovely piece it is.
PROGRAM.Edgar S. Kelley:"The Flower Seekers.""Confluentia."Wilson G. Smith:Valse-Menuet, Opus 43, No. 1."Reverie at the Piano."Second Polka Caprice.Marche Fantastique.Homer A. Norris, song:"Twilight."E. R. Kroeger:Second, Third, and Fourth Sonnets.Emil Liebling:Romance Dramatique."Spring Song,"Madeleine Waltz.Geo. W. Chadwick, songs:According to the taste and convenience of the singers.Wm. H. Sherwood:Romance Appassionata, Opus 8.Gypsy Dance, Opus 10.Mazurka, Opus 6.Scherzo Caprice, Opus 9.