![]() The first five bars can be seen as a contraction of 4 + 4 bars with the final clause ( consequent) of the prototypal eight-bar period replaced by bar 5. Musicologist Hugo Leichtentritt (1874–1951) believes its asymmetric structure, (5 + 3) + (5 + 7) bars, to be highly relevant to the impact of the melody. The A section is of remarkable melodic construction. Like most of Chopin's other études, this work is in ternary form (A–B–A). Structure and stylistic traits Bars 4–5 developed in " Debussian manner", noted by Alfredo Casella American music critic James Huneker (1857–1921) believed it to be "simpler, less morbid, sultry and languorous, therefore saner, than the much be-praised study in C sharp minor (Étude Op. According to German scholar and Chopin biographer Frederick Niecks (1845–1924), Chopin said to his German pupil and copyist Adolph Gutmann (1819–1882) that he "had never in his life written another such beautiful melody ( ' chant ') and on one occasion when Gutmann was studying it the master lifted his arms with his hands clasped and exclaimed: 'O, my fatherland!' (" O, me patrie!")" Niecks writes that this study "may be reckoned among Chopin's loveliest compositions" as it "combines classical chasteness of contour with the fragrance of romanticism". It marks a significant departure from the technical virtuosity required in standard études before Chopin's time, though, especially in the third volume of Muzio Clementi's Gradus ad Parnassum (1826), slow études for polyphonic playing, especially slower introductions to études, as well as études with alternating slower and faster sections, can easily be found. This étude differs from most of Chopin's in its tempo, its poetic character and the lingering yet powerful recitation of its cantabile melody. It may not be the best of what we know Chopin later produced, but these are still captivating, sometimes moving pieces which are very enjoyable.Problems playing this file? See media help. ![]() The middle movements of these concertos are very touching, maybe the highlight of the two pieces, and the final movements are dance-like, energetic endings. And indeed, many conductors and arrangers have tried to improve Chopin’s somewhat awkward orchestration (the latest by the pianist-conductor Mikhail Pletnev for pianist Daniil Trifonov). These are charming pieces, less of a proper piano concerto where the orchestra is in an equal partner, and more of a showpiece for the pianist with a background accompanying ensemble. Piano ConcertosĬhopin composed the two Piano Concertos in his late teens, with the concerto now referred to as No. Ingrid Fliter newer version for Linn is one of the best in the catalog, an exemplary performance and recording of this still difficult-to-pull-off cycle. 2, 8, 13 & 20.Īlfred Cortot performance is a must-have recording for any Chopin lover, or a piano lover for that matter, but the very old recording can be a deterrent. There are 21 nocturnes by the composer, the last two were not intended for publication and were released to the public after the composer’s death. Most of the nocturnes are on the long side (in Chopin terms, that is), allowing him to explore some ideas associated with night, perhaps nightmarish atmosphere. This, and other factors, makes him seem like one of the most prominent figures of the romantic era in classical music.Ĭhopin borrowed the “Nocturne” title from the Irish composer John Field (1782-1837), who composed many free-form, easy-going piano music under this title. Even when he does produce a longer composition, it is far less “organized” or obliged to strict musicological rules, which other composers before and after him incorporated into their compositional methods. Chopin felt most comfortable in a more free-form music structure, and he is at his best in relatively short, concise pieces such as the preludes, mazurkas and other compositions mentioned below.
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