"Moonlight," Op. 54-3 F minor, 3/4 time, Lento, ma non troppo

Composed in 1916, like Op. 54-1 and 2. Its premiere also took place on November 14, 1916, at a concert in Helsinki. This work exemplifies Palmgren's outstanding ability to depict nature through sound. The Helsinki Philharmonic Orchestra has performed an orchestral version of this piece.

The piece as a whole is highly poetic in expression. Given that Palmgren's birthplace was a city in Finland strongly influenced by Swedish culture, the work is notably sophisticated and rich in Swedish character, even when compared to other composers of the post-Sibelius generation (such as Melartin and Kuula).

Palmgren's compositions are sometimes categorized as impressionistic, but there is a significant divergence from French-style Impressionism. Palmgren was a composer one generation younger than Sibelius and was strongly influenced by him. Sibelius, being roughly contemporary with Debussy, was greatly inspired by Debussy, who was gaining attention in Europe during a period of transition from nationalistic music.

Palmgren's impressionistic elements were introduced via Sibelius. Although traditional scholarship has asserted a strong connection to Debussy due to the work's title, "Moonlight," recent scholarship denies any direct influence from Debussy.

Furthermore, the work incorporates influences from Swedish culture and possesses colorful characteristics that evoke sound paintings. Pianistic effects are fully reflected in the composition.

The structure of the piece is extremely simple, with the melody primarily based on triads. It is a tranquil and delicate composition. The melody is imbued with melancholy, sung with a profound and serene atmosphere. It can be said that this work reinterprets the fantastical worldview of the first movement of Beethoven's Piano Sonata No. 14, Op. 27-2, through a Nordic perspective, aiming for a new expression.

From the introduction (bars 1-2), the right hand is placed in the high register, depicted with syncopation, leading into the theme. The main melody, played by the left hand, consists of a continuous series of arpeggiated chords, progressing calmly until bar 20. In the development section, from bars 21 to 28, the right-hand accompaniment changes to triplets an octave above the theme, and the left hand divides into two voices. From bars 29 to 42, the right hand is subdivided into sixteenth notes, symbolizing the faint moonlight that quietly emits a silvery glow in the midnight sky. The left hand gradually crescendos, reaching its peak at bar 33. From bars 37 to 39, modulations occur through C major, A minor, and E major, expressing a fleeting brightness.

The transitional passage, from bars 43 to 51, is marked tranquillo, with an ambiguous tonality, and features the right hand moving widely across the high register. This depiction evokes a subtle painting in pale colors. When compared to bars 32 to 41 of the first movement of Beethoven's Piano Sonata No. 14, mentioned earlier, this section clearly reflects the characteristics of Palmgren's compositional style.

In the recapitulation (from bar 52 onwards), the right hand is subdivided into thirty-second note arpeggios. The melody's range drops an octave lower than in the exposition, intensifying the impression of "shadow" against "moonlight." The Coda concludes in silence, with an inversion of the tonic chord.

References

• Kanno, Hirokazu. "Izumi Tateno / Finnish Piano Masterpieces," Liner Notes, p. 38. EMI CLASSICS.
• Poroila, Heikki. SELIM PALMGRENIN SÄVELLYKSET. 2014.