Claude Debussy Seconde Sonate Vidéos
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2024-03-20
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Claudio Arrau Johannes Brahms Paganini Martin Krause Krause Franz Liszt Schumann Beethoven Chopin Claude Debussy Bach Mozart Schubert Albéniz Ravel Schönberg Arthur Rubinstein Alfred Cortot Backhaus Kempff Schneider Sergueï Rachmaninov Horowitz 1927 1930 1935 1936 1937 1938 1940 1959 1960 1974 1988 1989 2006
Claudio Arrau Brahms Variations on a Theme by Paganini Op. 35 Recorded on March 1974 Netherlands. Il est le fils de Carlos Arrau Ojeda, ophtalmologue, et de la pianiste Lucrecia León Bravo. Reconnu comme enfant prodige (il joue pour le président chilien à l’âge de six ans1), le jeune Claudio Arrau obtient une bourse pour aller étudier à Berlin avec Martin Krause, l'un des derniers élèves de Franz Liszt. Celui-ci jouera pour le jeune Arrau beaucoup plus que le rôle d'un simple pédagogue. Il sera en réalité un véritable père de substitution. Dépassant le simple champ de la musique, Krause sera également celui qui initiera Claudio Arrau à la peinture et à la littérature. Arrau restera toute sa vie marqué par l'enseignement de Krause et au décès de celui-ci, quand Arrau n'a encore que 16 ans, il décide de ne plus suivre d'autre enseignement. Ayant suivi toutes ces années une formation hautement empreinte de culture germanique, Arrau fut longtemps considéré comme un pianiste davantage allemand que sud-américain. De là, également, une prédilection pour les compositeurs allemands dont il se fera une spécialité (Brahms, Schumann, Beethoven) et dont il enregistrera la plupart des œuvres. Pour autant, son répertoire ne se limite pas au seul xixe siècle. Il est également un interprète remarquable de Chopin et de compositeurs du xxe siècle comme Claude Debussy. La discographie de l'artiste ne rend que fort peu compte de ses affinités avec la musique contemporaine, puisque si Arrau est interprète de Bach, de Mozart, des romantiques (Beethoven, Schubert, Liszt, Chopin, Schumann, Brahms), et des modernes (Debussy, Albéniz, Ravel), il l'est aussi de Schönberg. En 1927, il gagne le Grand Prix de Genève, devant un jury composé d’Arthur Rubinstein et Alfred Cortot1. Commençant sa carrière dans les années 1930, il fait sensation lorsqu'il donne à Berlin, en 1935-1936, en un cycle de douze récitals, l'intégrale de l'œuvre pour clavier de Bach (hormis les pièces pour orgue). La concurrence à cette époque est particulièrement rude. Backhaus, Kempff, entre autres, jouent déjà les premiers rôles. En 1937, Arrau épouse une cantatrice allemande, la mezzo-soprano Ruth Schneider (décédée en 1989) ; ils auront trois enfants : Carmen (1938–2006), Mario (1940–1988) et Christopher (1959). En 1940, Arrau quitte Berlin et le nazisme, mais aussi une réputation bien assise, pour s'installer aux États-Unis et y recommencer une nouvelle carrière. Bien qu'il y soit un parfait inconnu, le succès ne tarde pas à venir, et dès lors il ne le quittera plus tout au long des cinquante années qui suivront. Son interprétation de la sonate de Franz Liszt, des Nocturnes de Chopin, des Ballades de Johannes Brahms et des Préludes de Claude Debussy sont, encore aujourd'hui, des références discographiques. Au début des années 1960, il signe un contrat d'exclusivité avec l'éditeur de disques Philips, qui lui permettra d'enregistrer la plus grande partie de son répertoire, dans des prises de son d'une qualité exceptionnelle. Le jeu d'Arrau se caractérise tout d'abord par un scrupuleux respect du texte. Il s'insurgera notamment contre le fait que le compositeur et pianiste Sergueï Rachmaninov ait, dans un de ses enregistrements, modifié la partition de la seconde sonate pour piano de Chopin. Pour autant, il sait faire respirer le texte et ses interprétations sont des modèles de l'art de faire sonner et de timbrer le piano. Ne le cédant en rien aux virtuoses du clavier tels Horowitz, sa technique, héritage direct de la technique de Liszt, fait merveille dans les œuvres les plus ardues du répertoire telles que les Variations sur un thème de Paganini de Brahms. Pianiste à l'idiome poétique métaphysique, artiste angoissé (champion des traitements de psychanalyse), il avait ce toucher de velours que plusieurs pianistes lui enviaient. Sa « patte » léonine montrait une dynamique éblouissante qui, bien souvent, donnait l'impression qu'il jouait sur un clavier dont l'étendue dépassait les 88 notes. Rares sont les pianistes qui furent aussi à l'aise à la fois dans Beethoven et dans Chopin. Claudio Arrau savait les revisiter avec un souffle mélodique toujours intense, inquiet, ténu mais d'une précision psychologique exceptionnelle.
Chopin Mozart Beethoven Tchaikovsky Bach Haydn Schumann Schubert Vivaldi Debussy
Frédéric Chopin composed his Piano Sonata No. 3 in B minor, Op. 58, in 1844 and dedicated it to Countess Émilie de Perthuis. Along with the previous sonata, this is considered to be one of Chopin's most difficult compositions, both technically and musically. The sonata consists of four movements, a similar structure to the second sonata, with a lyrical largo rather than a funeral march. Allegro maestoso (in B minor, ending in B major) Scherzo: Molto vivace (in E-flat major) Largo (in B major) Finale: Presto non tanto (in B minor, ending in B major) Among Chopin's piano sonatas this is the only one ending in a major key. A performance of the work lasts around 25 to 30 minutes. The work opens on a martial note, the heavy chords and filigree in the opening of the first movement giving way to a more melodic second theme, eventually leading to the conclusion of the exposition in the relative major, D. This exposition is quite long compared to other sonatas and it may be for this reason many pianists choose to omit the exposition repeat. Motives of the original theme emerge in the development, which, unconventionally, returns to the second theme (as opposed to the first) for the recapitulation, which is in B major. The scherzo, in the distant key of E-flat major and in strict ternary form, characterised by ebullient quaver runs in the right hand, with a more demure chordal middle section in B major. If played slowly, the main E-flat major theme sounds somewhat similar to the E-flat major melody from the composer's Ballade No. 1. Unlike the scherzo of the B-flat minor sonata (and, indeed, the rest of Chopin's contributions to the genre outside of the sonatas), it is exceptionally short, typically lasting barely two minutes in performance. Despite a stormy introduction in dotted rhythm, the largo is serene, almost nocturne-like; an immensely beautiful melody is introduced, followed by a mellow and expansive middle section, again characterised by quaver figuration in the background of an intensely harmonic line, separating the more cantabile outer sections in B major. It is the most musically profound of the movements (Kraemer, 1991), in terms of a sustained melody and innovative harmonic progression; it rivals the extensive first movement in length alone. Its turbulent and dramatic introduction – a rising harmonic progression left hanging on a high dominant seventh – aside, the finale, in B minor, is pervaded by a "galloping" rhythm; emphasis in the melodic line on the first and third beats of each half-measure outlines the fifth through eighth degrees of a harmonic minor scale, in this case the F♯ and B, lending prominence to the augmented second between the sixth and raised seventh scale degrees, the G and A♯. The overall melody, chromatic yet rooted in the minor tonic, contributes a dark mood to these primary sections. A more triumphant second theme in B major, repeated twice in the movement's A–B–A–B–A form, appears quite suddenly at the conclusion of the first (likewise when repeated); eventually rising during fleet-fingered runs over a left-hand melody, it tumbles back to a dramatic restatement of the main theme in both of its appearances. The piece concludes in a jubilant B major coda. Chopin - Sonata No. 3 in B minor Op. 58 Hello! Welcome to Top Classical Music, the most comprehensive channel specializing in classical music. Here you will find musics for studying, concentration, relaxing and working. Explore our channel and listen to more works by Mozart, Chopin, Beethoven, Tchaikovsky, Bach, Haydn, Schumann, Schubert, Vivaldi, Dvorak, Debussy and more! I hope you enjoy it and don't forget to Subscribe. Facebook: (http•••) WebSite: (http•••) #MusicHistory #ClassicalMusic #Chopin
Sviatoslav Teofilovich Richter Chopin Handel Bach Szymanowski Berg Webern Stravinsky Bartók Hindemith Benjamin Britten Gershwin Beethoven Schubert Prokofiev Rachmaninoff Brahms Paganini Debussy Mozart Schumann Liszt Mstislav Rostropovich Rudolf Barshai David Oistrakh Oleg Kagan Yuri Bashmet Natalia Gutman Zoltán Kocsis Elisabeth Leonskaja Borodin Dietrich Fischer Dieskau Fischer Peter Schreier Galina Pisarenko Nina Dorliak Borodin Quartet 1915 1948 1949 1950 1954 1958 1960 1963 1972 1977 1986 1997
Sviatoslav Teofilovich Richter (Russian: Святослав Теофилович Рихтер Sviatosláv Teofílovich Ríkhter, Russian pronunciation: [svʲjətəsˈlaf tʲɪəˈfʲiləvʲɪtɕ ˈrʲixtər], Ukrainian: Святослав Теофілович Ріхтер; March 20 [O.S. March 7] 1915 / August 1, 1997) was a Soviet pianist well known for the depth of his interpretations, virtuoso technique, and vast repertoire. He is widely considered one of the greatest pianists of the 20th century. As Richter once put it, "My repertory runs to around eighty different programs, not counting chamber works." Indeed, Richter's repertoire ranged from Handel and Bach to Szymanowski, Berg, Webern, Stravinsky, Bartók, Hindemith, Britten, and Gershwin, although the works he did not play are curious (they include Bach's Goldberg Variations, Beethoven's Waldstein and Moonlight sonatas and Fourth and Fifth piano concertos, Schubert's A-major sonata D. 959, Prokofiev's Third piano concerto, Chopin's first piano concerto and second sonata and Rachmaninoff's Piano Concerto No. 3). Richter worked tirelessly to learn new pieces. For instance, in the late 1980s, he learned Brahms's Paganini and Handel Variations, and in the 1990s, several of Debussy's études and Gershwin, and works by Bach and Mozart which he had not previously included in his programs. Central to his repertoire were the works of Schubert, Schumann, Beethoven, J. S. Bach, Chopin, Liszt, Prokofiev and Debussy. He is said to have learned the second book of Bach's Well-Tempered Clavier by heart in one month. He gave the premiere of Prokofiev's Sonata No. 7, which he learned in four days, and No. 9, which Prokofiev dedicated to Richter. Apart from his solo career, he also performed chamber music with partners such as Mstislav Rostropovich, Rudolf Barshai, David Oistrakh, Oleg Kagan, Yuri Bashmet, Natalia Gutman, Zoltán Kocsis, Elisabeth Leonskaja, Benjamin Britten and members of the Borodin Quartet. Richter also often accompanied singers such as Dietrich Fischer-Dieskau, Peter Schreier, Galina Pisarenko and his long-time companion Nina Dorliak. Richter also conducted the premiere of Prokofiev's Symphony-Concerto for cello and orchestra. This was his sole appearance as a conductor. The soloist was Rostropovich, to whom the work was dedicated. Prokofiev also wrote his 1949 Cello Sonata in C for Rostropovich, and he and Richter premiered it in 1950. Richter himself was a passable cellist, and Rostropovich was a good pianist; at one concert in Moscow at which he accompanied Rostropovich on the piano, they exchanged instruments for part of the program. Despite his large discography, Richter disliked the recording process, and most of Richter's recordings originate from live performances. Thus, his live recitals from Moscow (1948), Warsaw (1954 and 1972), Sofia (1958), New York City (1960), Leipzig (1963), Aldeburgh (multiple years), Prague (multiple years), Salzburg (1977) and Amsterdam (1986), are hailed as some of the finest documents of his playing, as are other myriad live recordings issued prior to and since his death on labels including Music & Arts, BBC Legends, Philips, Russia Revelation, Parnassus, and more recently Ankh Productions... (http•••) A link to this wonderful artists personal Website: (http•••) Please Enjoy! I send my kind and warm regards,
Bach Camille Saint Saëns Camillo Sivori Satie Mozart Tchaikovsky Beethoven Chopin Haydn Ravel Debussy Verdi Vivaldi Handel Brahms Liszt Schubert Mendelssohn Rachmaninoff Wagner
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Tidal, Google Play): (http•••) Physical Purchase: (http•••) Social media: Facebook: (http•••) Instagram: (http•••) Spotify: (http•••) Spotify Playlists: New Classical Releases: (http•••) Beautiful Piano Music: (http•••) The Best of Bach: (http•••) Most Popular Piano Music: (http•••) Beautiful classical Melodies: (http•••) Composer: Camille Saint-Saëns Artists: Mauro Tortorelli (violin) , Angela Meluso (piano) About this Album: Although sometimes disregarded as a conservative composer, looking back at a time when other composers were looking to the future, Saint-Saëns’s output towards the end of his life actually remained highly original. His music for violin and piano is no exception. An experienced traveller, Saint-Saëns was inspired by his voyages in East Asia, particularly China, and these exotic elements come to the fore in Triptyque Op.136, the ‘almost sonata’, which was the last of the composer’s major works for violin and piano. The three sections, Prémice, Vision congolaise and Joyeuseté, are a tribute to the composer’s fascination with the East, a popular topic in France at the time. The earlier works, the two violin sonatas and Berceuse, or ‘lullaby’, are also less indicative of Saint-Saëns’s conservatism than many would believe. Indeed, the listener is treated to a variety of innovations, such as frequent cross-accents in the second sonata and the rapid changes of metre that appear in various phrases in the first sonata. It is true, though, that Saint-Saëns refused to allow his output to be engulfed by the Wagnerian tradition gathering pace in Germany, and this means that his music remains characteristically and unabashedly French. Mauro Tortorelli and Angela Meluso have been performing together for years and are experienced interpreters of Saint-Saëns and his contemporaries. Their critically acclaimed recording of Camillo Sivori’s works for violin and piano was praised in both Gramophone and Amadeus, with Angela Meluso singled out for her ‘lively and responsive’ playing. Both performers have their moments to shine in the recordings on this new release, and their lengthy musical partnership leads to a perfect balance between violin and piano. Tracklist: 00:00:00 Violin Sonata No. 1 in D Minor, Op. 75: I. Allegro agitato – 00:07:27 Violin Sonata No. 1 in D Minor, Op. 75: II. Adagio 00:14:09 Violin Sonata No. 1 in D Minor, Op. 75: III. Allegretto moderato – 00:18:07 Violin Sonata No. 1 in D Minor, Op. 75: IV. Allegro molto 00:24:24 Berceuse in B-Flat, Op. 38 00:30:04 Violin Sonata No. 2 in E-Flat, Op. 102: I. Poco allegro più tosto moderato 00:37:18 Violin Sonata No. 2 in E-Flat, Op. 102: II. Scherzo: Vivace 00:41:07Violin Sonata No. 2 in E-Flat, Op. 102: III. Andante 00:46:47 Violin Sonata No. 2 in E-Flat, Op. 102: IV. Allegro grazioso, non presto 00:51:25 Triptyque, Op. 136: I. Prémice 00:56:54 Triptyque, Op. 136: II. Vision congolaise 01:01:37 Triptyque, Op. 136: III. Joyeuseté Thanks for watching! Feel free to subscribe and visit our channel for the best classical music from the greatest composers like: Bach, Satie, Mozart, Tchaikovsky, Beethoven, Chopin, Haydn, Ravel, Debussy, Verdi, Vivaldi, Handel, Brahms, Liszt, Schubert, Mendelssohn, Rachmaninoff, Wagner, Strauss, Handel, Dvorak, Schubert and many more! We upload complete albums, music for relaxing, working, studying, meditating, concentrating, instrumental music, opera, violin, classical piano music, sonatas and more! #Classical #BrilliantClassics #Music #Composer #ClassicalMusic #saintsaens
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