Hugo Leichtentritt Vidéos
compositeur ou compositrice, musicologue
Commémorations 2024 (Naissance: Hugo Leichtentritt)
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Dernière mise à jour
2024-05-10
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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
Beethoven Hugo Leichtentritt Arnold Schering Shakespeare Donald Francis Tovey
Interactive Sheet Music for the Piano Sonata No.23, Op.57, best known as "Appasionata" by L.V. Beethoven. Late in life, Beethoven acknowledged that his favorite piano sonatas were the Sonata no 23 in F Minor (Appassionata), op 57; the Sonata no 24 in F♯ Major, op 78; and the Sonata no 29 in B♭ Major (Hammerklavier), op 106. The Appassionata has evoked some spectacular comparisons: Hugo Leichtentritt has likened it to Dante's Inferno; Arnold Schering, to Shakespeare's Macbeth; Romain Rolland, to Corneille's tragedies; and Donald Francis Tovey, to nothing less than Shakespeare's King Lear. Appassionata means passionate. Beethoven hated the nickname, mainly because it in no way describes the brooding and tragic nature of the sonata, evident from its very first notes. Credtis for the transcription to ClassicMan: (http•••) PDF Sheet music: (http•••)
Frédéric Chopin Laborde Delacroix Cumberland Santa Maria Stockhausen Mendelssohn Liszt Fauré Tomaszewski Sir Charles Hallé Maurice Ravel Hugo Leichtentritt 1697 1722 1726 1738 1743 1768 1780 1798 1810 1819 1838 1845 1846 1848 1849 1863 1874 1895 1951 2019
Frédéric Chopin (1810–1849) Barcarolle in F sharp major, Op. 60 Allegretto Gabrielle de Laborde Gahres, piano Recital live recording. New York City, United States (September 2019) All rights reserved Gabrielle de Laborde Gahres Cover: Portrait of Frédéric Chopin, 1838 painting by Eugène Delacroix (French painter, muralist and lithographer, 1798–1863). Musée du Louvre, Paris, France. Artworks, score: – Autograph score (first page) of Chopin's Barcarolle. This manuscript was used in preparation of the first edition. The British Library, Music Collections, London. – San Geremia and the Entrance to the Cannaregio, c.1726–27, by Canaletto (Giovanni Antonio Canal, Italian painter, 1697–1768). Royal Collection, Cumberland Art Gallery, Hampton Court Palace, London. – The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola, about 1738, by Canaletto. The J. Paul Getty Museum, Los Angeles, United States. – View of the Grand Canal: Santa Maria della Salute and the Dogana from Campo Santa Maria Zobenigo, about 1743, by Bernardo Bellotto (Italian painter, nephew of Canaletto, 1722–1780). The J. Paul Getty Museum, Los Angeles, United States. The Barcarolle, Op. 60 is a grand, expansive work from the late period in the oeuvre of Frédéric Chopin. Written in the years 1845–46, dedicated to Madame la Baronne de Stockhausen, it was published in 1846. Chopin refers in this work to the convention of the barcarola – a song of the Venetian gondoliers which inspired many outstanding composers of the nineteenth century, including Mendelssohn, Liszt and Fauré. Yet it is hard to find a barcarolle that would compare with Chopin's work for beauty and compositional artistry. Attention is quite often drawn to the Barcarolle's affinity with the Nocturnes, and also with the Berceuse Op. 57, which may be interpreted as "music of the evening and the night" (Mieczysław Tomaszewski). But one should not overstate this affinity, since the Barcarolle is considerably longer than most of the Nocturnes and appears to reach deeper. Venice, which it evokes, can also be pictured in sunshine, not only "to moonlight," and the Barcarolle is also quite different to lullabies and dreams-it spins a tale that is hot and intense. It is perhaps less a "song of the night" than a "song of love." It is certainly close to the Nocturnes and the Berceuse, meanwhile, in the particular richness and refinement of its ornamentation. The Barcarolle proceeds in a moderate tempo, in 12/8 time. The basis for its development is the tuneful melodic line, reminiscent in style of Italian bel canto. The melody is accompanied by a repeated accompaniment figure in the bass (on the principle of ostinato), whilst the melody itself is led in characteristic doublings-primarily in thirds and sixths. The ornamentation of the melody encompasses a variety of means, including double trills (in thirds), contributing to an exceptional expressive and coloristic richness. The form of the work can be generally defined as tripartite, A B A1 (reprise), with an inner, tonally contrasting, section in A major. One can also distinguish a short, intriguing introduction and an exquisite coda. Many commentators draw attention to the aura of eroticism that is strongly present in this exceptionally beautiful composition. Also stressed is the work's Italian, southern atmosphere, and particularly its links with Venice, although the Italian tone would appear to be restricted here to the function of picturesque decoration, serving to brilliantly convey a truly universal message. The Barcarolle is generally considered a masterpiece, and Chopin must have been its ideal interpreter. At his very last Paris recital, in 1848, Sir Charles Hallé (Anglo-German pianist and conductor, 1819–1895) heard the frail master, who now "played it from the point when it demands the utmost energy, in the opposite way, pianissimo, but with such wonderful nuances that one remained in doubt if this new rendering were not preferable to the accustomed one." The work displays Frédéric Chopin's ornamental genius in full bloom. Maurice Ravel wrote, "Chopin was not content merely to revolutionize piano technique. His figurations are inspired. Through his brilliant passages one perceives profound, enchanting harmonies. Always there is the hidden meaning which is translated into poetry of intense despair. The Barcarolle is the synthesis of the expressive and sumptuous art of this great Slav." Hugo Leichtentritt (German-Jewish musicologist and composer, 1874–1951) expressed his perception, interpretation and experiencing of this work with the following words: "A work of bewildering beauty."
Frédéric Chopin Constantinidis James Huneker Theodor Kullak Leichtentritt 1818 1830 1833 1857 1882 1921
Quarantine Piano Music ..... no.17 Frederic Chopin "Torrent" Etude op.10 no.4 Étude Op. 10, No. 4 in C♯ minor, known as the Torrent étude, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France, Germany,and England as the fourth piece of his Études Op. 10. This study, a very fast Presto con fuoco, features continuous sixteenth notes (semiquavers), in perpetuum mobile fashion involving both hands. American music critic James Huneker (1857–1921) believes that "despite its dark key color", this étude "bubbles with life and spurts flame." German pianist and composer Theodor Kullak (1818–1882) calls it a "bravura study for velocity and lightness in both hands. Accentuation fiery!" Leichtentritt calls the piece a "magnificent tone-painting" [prachtvolles Tongemälde] and "elemental sound experience" Playlist Link : (http•••)
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