B Major has a noble and solid quality. I associate it with the color orange. However, composers haven’t explored this key very much, instead opting for B-flat Major as the more popular key. Music in B Major is in fact rather rare.
B Major has the pitches B, C♯, D♯, E, F♯, G♯, and A♯ - its key signature has five sharps. Its relative minor is G-sharp minor, its parallel minor is B minor, and its enharmonic equivalent is C-flat major.
Although B major is usually considered a remote key (due to its distance from C major in the circle of fifths and the large number of sharps), Frédéric Chopin regarded its scale as the easiest of all to play on the piano, as its black notes fit the natural positions of the fingers well; as a consequence he often assigned it first to beginning piano students, leaving the scale of C major until last because he considered it the hardest of all scales to play completely evenly (because of its complete lack of black notes). However, it is also one of the most difficult keys to read because of the large number of tonal marks (=A#, C#, D#, F#, G#, all black keys are used).
Note that (confusingly) in Germany and some other European countries, B Major is called "H-Dur", while B-flat major is called "B-Dur."
Very few large-scale works in B major exist: these include Haydn's Symphony No. 46, the Sinfonietta by Korngold, Shostakovich's Symphony No 2 and Brahms's Piano Trio No. 1, Op. 8 (though the piece ends in B minor).
More often individual movements of larger pieces are in B: Brahms wrote the slow movement to his Second Symphony in B major, as well as the fourth and last piece of the Ballades, Op. 10. The second movement of Beethoven's Piano Concerto No. 5 "Emperor" is in B major. The "Tuileries" movement from Mussorgsky's Pictures at an Exhibition is in the key. Tchaikovsky's Manfred Symphony in B minor ends in B major. The aria "La donna è mobile" from Verdi's opera Rigoletto is in the key, as is the "Flower Duet" from Lakmé.
Other B Major symphonies are rarely played, such as work by Robert Farnon (Symphony in B "Ottawa"), Ruth Gipps (Symphony No. 2), Jef van Hoof (Symphony No. 4), George Lloyd (Symphony No.4 "Arctic"), Leo Sowerby (Symphony No. 2), and Charles Tournemire (Symphony No 2).
Characteristic Music in B Major
Il Giardino Armonico, Giovanni Antonini
Watch on YouTube.
B Major has the pitches B, C♯, D♯, E, F♯, G♯, and A♯ - its key signature has five sharps. Its relative minor is G-sharp minor, its parallel minor is B minor, and its enharmonic equivalent is C-flat major.
Although B major is usually considered a remote key (due to its distance from C major in the circle of fifths and the large number of sharps), Frédéric Chopin regarded its scale as the easiest of all to play on the piano, as its black notes fit the natural positions of the fingers well; as a consequence he often assigned it first to beginning piano students, leaving the scale of C major until last because he considered it the hardest of all scales to play completely evenly (because of its complete lack of black notes). However, it is also one of the most difficult keys to read because of the large number of tonal marks (=A#, C#, D#, F#, G#, all black keys are used).
Note that (confusingly) in Germany and some other European countries, B Major is called "H-Dur", while B-flat major is called "B-Dur."
Very few large-scale works in B major exist: these include Haydn's Symphony No. 46, the Sinfonietta by Korngold, Shostakovich's Symphony No 2 and Brahms's Piano Trio No. 1, Op. 8 (though the piece ends in B minor).
More often individual movements of larger pieces are in B: Brahms wrote the slow movement to his Second Symphony in B major, as well as the fourth and last piece of the Ballades, Op. 10. The second movement of Beethoven's Piano Concerto No. 5 "Emperor" is in B major. The "Tuileries" movement from Mussorgsky's Pictures at an Exhibition is in the key. Tchaikovsky's Manfred Symphony in B minor ends in B major. The aria "La donna è mobile" from Verdi's opera Rigoletto is in the key, as is the "Flower Duet" from Lakmé.
Other B Major symphonies are rarely played, such as work by Robert Farnon (Symphony in B "Ottawa"), Ruth Gipps (Symphony No. 2), Jef van Hoof (Symphony No. 4), George Lloyd (Symphony No.4 "Arctic"), Leo Sowerby (Symphony No. 2), and Charles Tournemire (Symphony No 2).
Characteristic Music in B Major
Joseph Haydn - Symphony No. 46 in B major "Il filosofo"
This work was written during Haydn's so-called "Sturm und Drang" period, and the composer's experimental spirit can be seen in his choice of B major, an unusual key for the time, and the novel composition of the last movement in particular.
The manuscripts of No. 45 "Farewell," this work, and No. 47 "Palindrome" all indicate that they were composed in 1772. In particular, No. 45 "Farewell" and this work have much in common, such as the fact that they both use keys with many sharp signs and that the last movement is interrupted by quite different music. However, unlike No. 45 "Farewell," no anecdotes remain about this piece, and it is unclear why Haydn wrote such a special work.
1st movement, Vivace. B major, 4/4 time, sonata form.
The rhythm of the opening motive is identical to that of No. 44. The second theme is transposed to the same major-minor key, and the music builds up. In the development, the motive of the opening motive and the motive of the minor part of the second theme are used.
2nd movement Poco Adagio. B minor, 6/8 time, sonata form.
Siciliano based on staccato notes by the violins. The main theme is a dialogue between the first violin and low strings, and the second theme is contrasted by a legato melody.
3rd movement Menuetto - Trio: Allegretto. B major - B minor, 3/4 time.
The stair-step motif in the second half of the main part is reproduced in the fourth movement. The trio becomes a chorale in B minor, and the repeats of the first half are omitted, leaving a steady rhythm. The quiet atmosphere is sharply contrasted with the intensity.
4th movement Finale: Presto e scherzando - Listesso tempo di minuetto - Tempo primo. B major, 2/2 time, sonata form.
An unusual, funny theme is developed in a single-subject manner. It is often interspersed with pauses to intensify the effect. The development begins in the key of D-sharp major, a key that can only be handled with an accidental, so the violin is notated with a low "fisis" (heavy F-sharp), which refers to the open strings of the G line. At the end of the reprise, a semi-terminus is prepared in the same manner as in No. 45 "Farewell," and the aforementioned second half theme of the minuet is reproduced. After the semi-terminus, the fragment of the theme of the finale is played, but immediately after a pause, the main theme is continued by the horn and low strings, and the cadenza of the finale follows.
The manuscripts of No. 45 "Farewell," this work, and No. 47 "Palindrome" all indicate that they were composed in 1772. In particular, No. 45 "Farewell" and this work have much in common, such as the fact that they both use keys with many sharp signs and that the last movement is interrupted by quite different music. However, unlike No. 45 "Farewell," no anecdotes remain about this piece, and it is unclear why Haydn wrote such a special work.
1st movement, Vivace. B major, 4/4 time, sonata form.
The rhythm of the opening motive is identical to that of No. 44. The second theme is transposed to the same major-minor key, and the music builds up. In the development, the motive of the opening motive and the motive of the minor part of the second theme are used.
2nd movement Poco Adagio. B minor, 6/8 time, sonata form.
Siciliano based on staccato notes by the violins. The main theme is a dialogue between the first violin and low strings, and the second theme is contrasted by a legato melody.
3rd movement Menuetto - Trio: Allegretto. B major - B minor, 3/4 time.
The stair-step motif in the second half of the main part is reproduced in the fourth movement. The trio becomes a chorale in B minor, and the repeats of the first half are omitted, leaving a steady rhythm. The quiet atmosphere is sharply contrasted with the intensity.
4th movement Finale: Presto e scherzando - Listesso tempo di minuetto - Tempo primo. B major, 2/2 time, sonata form.
An unusual, funny theme is developed in a single-subject manner. It is often interspersed with pauses to intensify the effect. The development begins in the key of D-sharp major, a key that can only be handled with an accidental, so the violin is notated with a low "fisis" (heavy F-sharp), which refers to the open strings of the G line. At the end of the reprise, a semi-terminus is prepared in the same manner as in No. 45 "Farewell," and the aforementioned second half theme of the minuet is reproduced. After the semi-terminus, the fragment of the theme of the finale is played, but immediately after a pause, the main theme is continued by the horn and low strings, and the cadenza of the finale follows.
Il Giardino Armonico, Giovanni Antonini
Watch on YouTube.
Johannes Brahms, Piano Trio No 1 Op 8 in B Major
The Piano Trio No. 1 in B major, Op. 8, by Johannes Brahms was completed in January 1854, when the composer was only twenty years old - just months after he was introduced to Robert and Clara Schumann, who were deeply impressed and took him into their musical circle. But the trio we hear today was substantially revised by Brahms in 1889, 35 years later, at the pinnacle of his career. So really it is a work by two Brahmses, separated by three-and-a-half decades of experience.
The luxurious and spacious work is homotonal, with two movements in the key of B major and two in B minor. It is also among the few multimovement works to begin in a major key and end in the tonic minor (another example being Felix Mendelssohn's "Italian" Symphony).
The luxurious and spacious work is homotonal, with two movements in the key of B major and two in B minor. It is also among the few multimovement works to begin in a major key and end in the tonic minor (another example being Felix Mendelssohn's "Italian" Symphony).
1st movement. Allegro con brio. Sonata form in 2/2 time, B major.
This movement begins with a gorgeous lyric melody that the piano alone sings in its mellow alto register and builds in intensity. The stage was thus set for a movement combining the warm lyricism and the muscularity which reveal Brahms at his most characteristic.
2nd movement. Allegro molto Scherzo. Three-quarter time, three-part form, B minor.
The B minor scherzo combines delicate filigree passages with fortissimo outbursts. The exuberant mood of the first movement returns in the trio section in B major.
3rd movement. Adagio. 4/4 time, three-part form, B major.
This movement, returning to B major and following a simple ternary form, opens with a spacious chordal theme in the piano, counterpoised by a middle section in which the cello plays a poignant G-sharp minor melody making use of chromaticism.
4th movement. Allegro. Sonata form in 3/4 time, B minor.
Back in B minor, the Allegro finale starts with a fantastical cello solo (the cello was one of Brahms’s childhood instruments). The main theme has a bit of the Hungarian to it, exposing a predilection for the Magyar that enticed a very young Brahms and that he took no pains to resist throughout his life.
2nd movement. Allegro molto Scherzo. Three-quarter time, three-part form, B minor.
The B minor scherzo combines delicate filigree passages with fortissimo outbursts. The exuberant mood of the first movement returns in the trio section in B major.
3rd movement. Adagio. 4/4 time, three-part form, B major.
This movement, returning to B major and following a simple ternary form, opens with a spacious chordal theme in the piano, counterpoised by a middle section in which the cello plays a poignant G-sharp minor melody making use of chromaticism.
4th movement. Allegro. Sonata form in 3/4 time, B minor.
Back in B minor, the Allegro finale starts with a fantastical cello solo (the cello was one of Brahms’s childhood instruments). The main theme has a bit of the Hungarian to it, exposing a predilection for the Magyar that enticed a very young Brahms and that he took no pains to resist throughout his life.
Played by Yuja Wang, Leonidas Kavakos and Gautier Capuçon
Franz Schubert, Piano Sonata in B major D 575 Op 147
Schubert
composed this sonata in August 1817. It was published after the
composer's death in 1846 and was dedicated to Sigismont Thalberg by
publisher Anton Diabelli. The piece is in four movements. All movements
are unified in sonata form. The choice of unusual tonalities as B Major
and the application of sonata form even to the slow movement are some
of the composer's unexpected and creative ideas in the completed work.
1st movement Allegro ma non troppo. B major, 4/4 time.
The movement begins imposingly with threes in the bass line and dotted rhythms above before rising to G major for a new and highly romantic section. Heroic ascents and converse descents together with a march theme shape the movement.
2nd movement Andante. E major, 3/4 time.
Lyrical slow movement with a song-like theme with dotted rhythm. The sudden outpouring of passion in the middle section already foreshadows Schubert's later sonatas.
3rd movement: Scherzo: Allegretto - Trio. G major - D major, 3/4 time.
"Minuet and trio" perhaps rather than a scherzo... The wit and good humor of the minuet section is a particularly felicitous invention which almost makes the whole work a minor masterpiece. Even this small movement does not break the sonata form.
4th movement: Allegro Giusto. B major, 3/8 time.
A bright and playful final movement brings the work to a close with a strongly rhythmic finale.
1st movement Allegro ma non troppo. B major, 4/4 time.
The movement begins imposingly with threes in the bass line and dotted rhythms above before rising to G major for a new and highly romantic section. Heroic ascents and converse descents together with a march theme shape the movement.
2nd movement Andante. E major, 3/4 time.
Lyrical slow movement with a song-like theme with dotted rhythm. The sudden outpouring of passion in the middle section already foreshadows Schubert's later sonatas.
3rd movement: Scherzo: Allegretto - Trio. G major - D major, 3/4 time.
"Minuet and trio" perhaps rather than a scherzo... The wit and good humor of the minuet section is a particularly felicitous invention which almost makes the whole work a minor masterpiece. Even this small movement does not break the sonata form.
4th movement: Allegro Giusto. B major, 3/8 time.
A bright and playful final movement brings the work to a close with a strongly rhythmic finale.
Played by Daisy Ou.
Sinfonietta in B major, Op. 5, Erich Wolfgang Korngold
Erich Wolfgang Korngold was just 15 years old when he completed the score to his "Sinfonietta" in August 1912. The composition is his first large orchestral work orchestrated by his own hands. The term "Sinfonietta", i.e. "little symphony", is simply an understatement, for the four-movement work with its playing time of just under three quarters of an hour is a full-blown symphony, both in terms of its layout and its lush late-Romantic orchestration. In terms of inventiveness, the delicate harmonic processing of the material and the technical sovereignty, the 15-year-old not only shows himself to be a master without fault, but also courageously at the height of his time. Involuntarily, one is reminded in places of the forward-storming élan and tonal delicacy of a symphonic poem by Richard Strauss. The Sinfonietta was premiered in Vienna on 30 November 1913 under the direction of Felix Weingartner (to whom the work is dedicated, in thanks to his support of Korngold), and was a sensational success, resulting in further performances all over Europe and America.1st movement. Fließend, mit heiterem Schwunge (Flowing, with cheerful
motion)
A rapturous complex sonata movement springing up from the motto theme. The second subject is lilting, typically Viennese in mood. The development replete with fanfares leads to a thoroughly worked our recapitulation.
2nd movement.Scherzo: Molto agitato, rasch und feurig (Quickly and fiery)
The scherzo in B flat major erupts like a volcano, scored for timpani and brass. There is a beautiful trio in F Major - a foretaste of the love themes Korngold would later compose in his film scores.
3rd movement.Molto andante (Träumerisch) (Dreamy)
The dreamy andante is characterized by a haunting dominant ninth chord and a wistful melody on the cor anglais. The orchestration is very delicate here.
4th movement. Finale: Patetico - Allegro Giocoso
The Finale is an orchestral tour de force, a real showstopper, building one climax after another, with a joyous theme.
Korngold opted for the rich chromatic key of B major because he loved bright keys, as his other works show (Symphony, Piano Concerto) - the sinfonietta is a masterful example of extended polytonality.
Gürzenich-Orchester Köln ⎮ James Conlon
[Incorporates parts of the relevant articles in the Japanese, German and English Wikipedia]