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Artist: Bartosz Barasinski
Genre:
Music for piano
Category:
Antologies
Composer:
Various Artists
Supported languages: Italiano
Extended description:
L. van Beethoven – Op. 90 – Sonata in E minor. Dedicated to Count Moritz Lichnowsky.
This sonata which opened the gateway to the late sonatas was written in 1814 and is another intimate 2 movement work - the first in the minor and the 2nd in the major key, a scheme Beethoven was to exploit to the full in his last sonata. Beethoven explained the work to Count Moritz Lichnowsky who was about to marry a lady below his station as "a struggle between the heart and the head" followed by a "conversation with the beloved". For this sonata and the following one Beethoven abandoned Italian terms and used German instead, obviously caught up in the mood of nationalism that pervaded the times which culminated in the congress of Vienna.
L. van Beethoven – Sonata in E Flat Major op. 81a
Sonata in E Flat Major op. 81 is perhaps one of Beethoven’s most popular sonatas, one of great originality. Beethoven published the programme of this work. Each part bears a distinct title: Farewell, Absence, and Return. The sonata was dedicated to the archduke Rudolf, with the following note on the manuscript: “Farewell on the occasion of the departure of His Royal Highness, the Honorable Archduke Rudolf, Vienna, May 21st 1809.” (Edwin Fischer, Beethoven’s Piano Sonatas). The sonata is also known as Les Adieux, title given by editor Breitkopf without Beethoven’s permission.
The sonata starts with a slow introduction where we notice the sounds of the bugle announcing the departure of the postalion and at the same time suggesting a feeling of sadness of leaving. Then there is rendered a picture of great joy, conjuring up the adventures of the journey presented with extraordinary humor. The second part – Andante – renders the feelings of the abandoned man.
S. Rachmaninoff – Study in E flat Minor op. 39 no 5
It is the largest and the most popular etude of Etude-tableaux op. 39. Inspired by Scriabin it is one of the richest etudes both melodically and harmonically (Brady 214). It is marked Apassionato and contains driving, martellato character within a chordal texture and increasing counterpoint. It includes a very lyrical, Slavic melody in «molto marcato» section. The second section contrasts with the first and is more contrapuntal and chromatic, containing a quieter melody. After the return of first section the thin texture of the coda leads to a quiet ending in E Flat Major.
Problems encountered within the work include executing rapid repetitions of chords and carefully voicing contrapuntal themes within a thick texture that sometimes involves interlocking hands. In addition to this both hands must move quickly over a wide range of the keyboard while sustaining long melodic lines and maintaining smooth and even chord patterns.
F. Liszt – Vallee d’Obermann
In the 1850s, settled into his court position in Weimar, Liszt gathered many of his older compositions and reworked them into the first two books of the Années de Pèlerinage (“Years of Pilgrimage”), quintessential examples of program music for the piano. “Vallée d’Obermann,” based on a piece of the same name composed in the mid-1830s, is the sixth piece in the first set, Switzerland. It is a musical depiction not of a place but of a soul – that peculiarly Romantic ideal, the not-quite-post-adolescent male in search of himself. In order to make the point clear, Liszt prefaces the score with three short texts, two from Sénancour’s novel-in-letters Obermann, and one from Byron’s Childe Harold. Liszt’s addition of a “valley” to the title of Sénancour’s book points up the connection between the questing soul and nature mentioned in each of the texts. This apparently rhapsodic poem for the piano is, in its final version, a carefully organized four-section structure, Declamation (A) – Aria (B) – Recitative (related to A) – Aria (B’). (The 1836 version is considerably more complicated in every respect.) The main rhythmic idea of the piece, clearly stated at he beginning of all four sections, could be related to an imagined declamation of Sénancour’s lines, “Que veux-je? que suis-je? que demander à la nature?” (“What do I want? What am I? What can I ask of Nature?”).
F. Chopin – Ballade in G minor op. 23
Chopin is credited with originating the Ballade genre for the piano. The Ballade had previously been associated exclusively with the literary world; it is found in the works of Goethe, Schiller, and other poets. In this Op. 23 effort, Chopin was said to have been inspired by the poem "Konrad Wallenrod" by Adam Mickiewicz. Mickiewicz, like Chopin and many other Polish artists, lived as an exile in Paris in the 1830s. Regardless of any programmatic comments associated with the Ballade No. 1, it is almost certainly not a depiction of specific events associated with this or any other Mickiewicz poem, but rather an expression of emotions associated with them.
The piece opens with a ponderous, somewhat hesitant introduction, and then the composer presents a melancholy theme that maintains the uncertain air of the opening. Gradually the tempo quickens, the emotional pitch turning fiery and passionate. Chopin then offers one of his most memorable melodies, a lovely, Romantic outpouring of rather simple, yet ingenious, construction: the theme revolves mainly around a three-note pattern, which sings and soars in its arch-like contour. The main theme returns briefly, but mostly to serve as a bridge; it builds up to a powerful statement of the alternate theme in one of Chopin's most passionate climactic moments in any of his works. The melody returns once again, now serene and confident in its demeanor. But a stormy and dark return of the main theme leads to a tragic and anxious ending, full of color and ambivalence. Without question, this is one of the composer's greatest compositions from his early Paris years. There would be three more Ballades, with perhaps only the Ballade No. 4, composed in 1842, equaling this first effort. Like many of Chopin's works, this First Ballade contains many technical and interpretive challenges for the soloist.
F. Chopin – Polonaise in A Flat Major op. 53
Chopin composed his Polonaise No. 6 in A flat major, Op. 53 around 1842. It is also called the 'heroic,' which is appropriate as it is said to have been the piece of music played on the Warsaw streets by loudspeaker, when the city was liberated at the end of Second World War.
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