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Chopin Yundi Li Hugo Leichtentritt Horowitz Rosenthal 1874 1951
** I do not own anything seen or heard in this video. The rights to the piece are held by Frederic Chopin and the rights to the recording are held by Yundi Li./ Like all of Chopin's other études, this work is in ternary form ABA. The two eight-bar periods of the A section are characterized by frequent dynamic contrasts. Each reentry of the first bar, occurring every four bars, is marked by a forte, followed in the second bar by a piano restatement in a lower register. This capricious opening in the tonic is replied by an upward movement and a syncopated accompaniment in the third and fourth bar. This pattern is repeated four times. The harmonic scheme of the A section is relatively simple, featuring tonic (first two bars) versus dominant (third and fourth bars), but the consequent of the first period shifts to B♭ major (poco rallentando, pp), while the consequent of the second one modulates to the dominant key D♭ major. D♭ major is also the key of the middle section which is exactly twice as long as the A section. Its 32 bars though do not subdivide into four eight-bar periods but into sections of +••.••(...) 4 +••.••(...) bars with six motivically distinct modifications of the original semiquaver triplet figure, thus offering an attractive break from the symmetry. An effective dynamic increase begins in bar 23 but does not end in a climax as the crescendo does not lead to fortissimo but eases off in diminuendos (bars 36 and 40). Harmonically the section (bars 23–41) may be interpreted as an extended and ornamented D-flat major cadence. Musicologist Hugo Leichtentritt (1874–1951) compares the left hand of bars 33–48 to horn signals. These "announce" the recapitulation of the A part which begins as a literal restatement in bar 49, seems to approach a climax and eases off with a sudden delicatissimo pianissimo smorzando passage, leading via a cadence to the coda. The coda consists of two periods, the last one stretched by three bars. The first one is a restatement of the middle section's opening transposed to the tonic G♭ major. The consequent of the second period contains a brilliantly swooshing, widely positioned arpeggio for both hands (bars 79(83) and is pianistically attractive. Its effect is based on the accent enforced by a third at the beginning of each triplet, as well as on the tenth and eleventh stretches of the left hand and the ascending bass line covering the entire range of the keyboard. The piece ends with a rapid octave passage, ff and staccato, played by both hands on black keys, in a G♭ major pentatonic scale. Some prominent performers, including Horowitz and Rosenthal, choose to perform the final octave passage glissando. Source: Wikipedia
Xian Xinghai Yundi Li Sheng Dizi 1440 1905 1970
LIKE and SUBSCRIBE for more score videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Yundi Li Plays Xian Xinghai - The Yellow River Piano Concerto (黃河鋼琴協奏曲) [Audio + Score].Based on The Yellow River Cantata (黃河大合唱) by Xian Xinghai (洗星海) +••.••(...))arranged by Yin Chengzong (殷承宗), Chu Wanghua (儲望華), Sheng Lihong (盛禮洪) and Liu Zhuang (劉莊 ). 00:00 1. Prelude. The Song of the Yellow River Boatman "The Song of the Yellow River Boatmen" describes the momentum of the terrifying waves of the Yellow River and uses the rapid chromatic crescendo and long rolls of the timpani and cymbals typical of the revolutionary operas. 03:30 2. Ode to the Yellow River The original heroic tenor solo melody of the "Ode to the Yellow River" is sung in praise of the history and presence of the Yellow River, signifying the cultural pride of the Chinese. This broad Chinese recitative is supported by the deep and rich timbre of the cello, and is considered as an example of the nationalistic style. 07:47 3. The Wrath of the Yellow River "The Wrath of the Yellow River", originally sung by a soprano solo, begins with a dizi solo accompanied by the piano. This is obviously inspired by the Jiangnan melody of the Butterfly Lovers' Violin Concerto, but rewritten in the style of northwest Shanbei folk idioms. In the third movement, the piano brings out the melody taken from the "Ballad of the Yellow Rivers", originally a mellow number sung by female chorus. We then hear the "Lament at the Yellow River" taking over for this movement. 14:40 4. Defend the Yellow River As the finale of this piano concerto, the theme is arranged into a polyphonic canon. It is also apparent that the tune from "The East is Red" is persistent throughout the entire movement; among the various versions of the Yellow River Concerto that are currently in circulation, including Yin Chengzong's film recording, we can hear a recapitulation of the theme of "Defending the Yellow River" played canonically against the strings after the climatic tutti of "The East is Red". Then the first phrase of "The East is Red" is played by the trumpet, and tightly followed by the final phrase of the "Internationale", as an example of thematic writing huan wei (換尾; literally "Changing the end") that is often found in traditional Chinese music.
Frédéric Chopin Alder Maillard 2004 2021
Provided to YouTube by Universal Music Group Chopin: Impromptu No. 1 in A-Flat Major, Op. 29 · Yundi · Frédéric Chopin · Frédéric Chopin · Frédéric Chopin · Frédéric Chopin Listen to Chopin ℗ 2004 Deutsche Grammophon GmbH, Berlin Released on: 2021-07-26 Producer, Recording Producer: Christopher Alder Studio Personnel, Balance Engineer, Recording Engineer: Rainer Maillard Studio Personnel, Editor: Mark Buecker Composer: Frédéric Chopin Auto-generated by YouTube.
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