Szymanowska's Études in F and C are intense technical studies for the right hand. The Étude in F focuses on arpeggios in the right hand and rolled 10th intervals in the left as well as sudden dynamic changes, tone colors, and sequencing. The Étude in C focuses on balance and separation of the melody from the harmony in the right hand, while maintaining steadiness of the fast notes. As the piece grows more complex, eventually the left hand doubles the fast notes of the harmony. Like the Étude in F, Szymanowska's Étude in C also utilizes sequencing to move through different tonalities, as well as sudden dynamic contrasts. The Étude in E is much different than the previous two; rather than fixate predominantly on the right hand, the left hand is equally difficult and involved. The Étude in E also sounds starkly different than the other two études. It is fast and driven by syncopation - almost what we would consider jazz-like in harmony and rhythm. And unlike the other two études, it modulates by sequencing to F and then back to E, an almost prophetic Romantic modulation. The piece is charismatic and oddly modern. Aside from some of the more unusual harmonies, I feel like I could hear Schroeder wailing away at this piece while Snoopy dances around the piano. The abrupt ending is strange and out of place, however. It's almost as if Szymanowska is presenting a musical joke, but she doesn't quite pull it off like Haydn. But in all, the pieces are études through and through, each honing specific technical difficulties for pianists.
The Nocturne in Bb Major is resolutely in the nocturne's style: the left hand outlines chords and the right hand contains the lyrical melody. It is obvious why her critics, audience, and peers praised Szymanowska for her cantabile style of composing and playing - it is easy to imagine a vocalist singing the line. Interestingly, the nocturne could also fall under the term "rondo," as the piece has sections of ABACA and a coda of sorts, with variations on the A theme as it progressively gets more difficult and involved with both hands. The B section is in the parallel minor (Bb minor) and the C section is in the parallel minor's relative major (Db Major), but the A theme is always in the original key. This nocturne is a good example of a pre-Romantic piece; like Beethoven, Szymanowska greatly expands the range of the piano, using both low and high extremes. It is also a good example of a pre-cursor to a composer like Chopin, who also used and expanded Szymanowska's distinctly "Polish" chromaticisms.
The Études, but the Nocturne in particular, fall in the gray area between Classical and Romantic music. The tonality and styles contain elements of the Classical period, but elements of the Romantic style creep into the piece through its chromaticism, virtuosity, expansion of the melody and range, and the simple fact that these are solo piano pieces intended to be performed by virtuosi, not necessarily by amateurs. Syzmanowska was ahead of her time, leaning toward Romantic music but still somewhat stuck in the confines of Classicism.
I loved the pieces. I am almost ashamed that I am a pianist and dedicated to female composers and did not know of Szymanowska. In fact, I promptly checked out scores of her piano music after I was finished listening and sight-read them. They are not terribly difficult to read through, but to perform them and perform them well would absolutely require a high level of technique, a sensitive ear, and a delicate touch.
Why then, is she not included in the canon? Although I enjoyed the pieces, there are several reasons she is not widely known. First of all, Szymanowska was primarily a performer, not a composer. She gained her reputation through touring and playing for royalty, not being commissioned to compose. Secondly, she did not have a huge output of music and primarily wrote for solo piano. Although they were published and even to a degree renowned in her lifetime (due to her fame as a virtuoso performer), composing was not her objective. Finally, and this is my pure speculation and opinion, she was overshadowed compositionally by John Field and, later, Chopin. It is almost known for certain that Chopin and Szymanowska were acquaintances, and it has been implied that because Szymanowska was 21 years his senior, Chopin looked up to her and even revered her - much like a teenager would look up to a rockstar in our culture. Thus, it is understandable and even expected that Chopin would attempt to emulate Szymanowska in style, genre, and tonality. The problem lies in the fact that he did it so much better and prolifically that Szymanowska has been fast forgotten. Composing in the same medium and style as others who have a larger output and go to even more extremes lends to an understandable fall to the wayside. This is not to say, however, that I agree with the fact that Szymanowska is not well-known. I am actually undecided on whether or not I think she should be included in the canon, but I find her music beautiful and well worth listening to multiple times.
