Frédéric Chopin Rondó en fa mayor, Op. 5, « à la Mazur » Vídeos
Última actualización
2024-03-28
Actualizar
Evgeni Bozhanov Van Cliburn Chopin Beethoven Bates Lomax Schubert 2009
His first and second recital in the Van Cliburn International Piano Competition 0:00:33 Mozart - Sonata No. 9 in D Major, K. 311 0:15:16 Chopin - Rondo a la Mazur in F major, Op. 5 0:24:23 Chopin - Sonata No. 3 in B Minor, Op. 58 0:51:45 Beethoven - Sonata in E-flat major, Op. 31, No. 3 1:09:45 Bates - White lies for Lomax 1:16:55 Schubert - Sonata in B-flat major, D. 960 (http•••)
Sorita Fryderyk Chopin Warsaw Philharmonic Concert Hall 1240 2020 2021
9.10.2021 Sala Koncertowa Filharmonii Narodowej w Warszawie / Warsaw Philharmonic Concert Hall XVIII Międzynarodowy Konkurs Pianistyczny im. Fryderyka Chopina The 18th International Fryderyk Chopin Piano Competition KYOHEI SORITA (Japonia / Japan) (http•••) Walc F-dur op. 34 nr 3 / Waltz in F major, Op. 34 No. 3 (0:17) Rondo à la Mazur F-dur op. 5 / Rondo à la mazur in F major, Op. 5 (2:54) Ballada F-dur op. 38 / Ballade in F major, Op. 38 (12:40) Andante spianato i Polonez Es-dur op. 22 / Andante spianato and Polonaise in E flat major, Op. 22 (20:33) / Oficjalna strona Konkursu/ The official Competition website: (http•••) Oficjalna aplikacja / The official app: iOS version: (http•••) Android version: (http•••) Subscribe: (http•••)
Fryderyk Chopin Biret Bunch Kurpiński Elsner Gładkowska Soliva Streicher Tomaszewski 1828 1830 1833
Chopin Grande fantaisie sur des airs polonais Op. 13 in A major - Idil Biret Chopin composed the Fantasy on Polish Airs most probably in 1828, but did not perform it until 1830. It was published in 1833, and so in his Parisian years, as a Fantasie sur des Airs Nationaux Polonais. In his review of the first Warsaw concert, Maurycy Mochnacki described this work as a ‘potpourri of national airs’, emphasising the ‘beautiful simplicity of the native song, which Chopin has assimilated’. This Fantasy does indeed represent the ‘potpourri’ variety of that many-headed genre, and so a loose bunch of melodies of a common character. Chopin chose three tunes, presented them in variation form and preceded them with an introduction. Yet there is no question of an excessively ‘loose’ form to this work. It has a distinctive dramatic shape and was composed as a coherent whole. Each passage from theme to theme occurs without a drop in tension. On the contrary: the switches are made in a way that arouses interest and expectancy, with anticipation and echo. The three themes complement one another, forming a whole that is indeed ‘national’ or ‘native’. The first brings us the melody of a romance about Laura and Philo, the second renders the tune of a dumka attributed to Kurpiński but betraying folk provenance, and the third carries the melody of a dance – a kujawiak, the folk character of which is beyond dispute. In keeping with the conventions of the genre, the body of the work is preceded by an introduction, which proceeds at a slow tempo, Largo ma non troppo. This may be termed a kind of nocturne – the first of Chopin’s nocturnes. Yet it presages not just the nocturnes, for which we will have to wait another two years, but also the larghettos of the two piano concertos. Already we have here that characteristic spinning-out of a narrative somewhere between dreaming and reverie. The first theme, taken from the song ‘Już miesiąc zeszedł’ [The moon now has risen], is presented in a mellifluous manner by the piano, with the requisite sweetness (dolce) and simplicity (semplice). The arabesque of the melody moves along against the nocturne-like ostinato accompaniment and the soft murmuring of the strings. It is followed by successive variations, which break up the tune into pieces. In the second variation, the movement of the figurations increases, and the last is overcome by a pianistic frenzy. One must not forget that in this composition, too, Chopin submitted to the rules of the style brillant. A hush, the octave of the horns announces a new phase in the narrative; the second theme comes in – Kurpiński’s theme, a dumka representing the folklore of the south of the country, more Ukrainian than Cracovian. The striking of the orchestra and the piano con fuoco and con forza may have been meant to convey the sudden impression made on Poles by the news of Kościuszko’s death. What follows is a thoughtful, meditative nocturne. One admires the way Chopin transformed the supremely simple dumka melody into a masterfully sophisticated and expressively distinctive song of the night. The Fantasy on Polish Airs is a concert work, and so it cannot dispense with a coda, which is just as vigorous and insistent as the kujawiak itself. Warsaw heard the Fantasy three times. For the first time in the Chopins’ drawing-room on Krakowskie Przedmieście, in March 1830. The group of musicians was conducted by Kurpiński, and the audience comprised the musical elite, led by Elsner. A gushing review was forthcoming. Chopin wrote about the October performance in a letter: ‘After leading Miss Gładkowska from the stage, we set about the Potpourri on the Moon that has risen, etc. This time I knew what I was doing, and the orchestra knew what it was doing, and the parterre appreciated. Only on this occasion did the mazur at the end [the kujawiak that closes the Fantasy] draw great applause, after which I was called back out – not once did anyone hiss, and I had time to bow 4 times’. That success was no accident. The conductor, Carlo Soliva, led the orchestra splendidly – ‘like never before’, according to Chopin. And Chopin played this time on a Viennese Streicher piano – the best available in Warsaw at that time. Author: Mieczysław Tomaszewski A series of programmes entitled ‘Fryderyk Chopin’s Complete Works’ Read it in full here: (http•••) 0:00 Introduction - Largo non troppo 4:31 Air-Juz miesiac zaszedi - Andantino 8:16 Theme de Charles Kurpinski- Allegretto 12:13 Kujawiak - Vivace Sheet: (http•••)
o
- Las mejores obras para solista
- Obras imprescindibles: época romántica
- Índices (por orden alfabético): R...