My selection of TOP ten best nocturnes from Polish composer (with French-Polish parentage), virtuoso pianist and music teacher Frederic Chopin. All ten little piano masterpieces were tuned to 432 Hz… Enjoy!:-)
The full playlist of nocturnes is following:
1. Nocturne in B flat minor, Op. 9 no. 1 — 0:00
2. Nocturne in E flat major, Op. 9 no. 2 — 5:45
3. Nocturne in F-sharp major, Op. 15, no. 2 — 10:44
4. Nocturne in D flat major, Op. 27 no. 2 — 14:46
5. Nocturne in E flat major, Op. 55 no. 2 — 21:03
6. Nocturne in E major, Op. 62 no. 2 — 26:59
7. Nocturne in E minor, Op. posth. 72 — 35:12
8. Nocturne in C sharp minor Lento con gran espressione, B. 49 (Op. posth.) — 39:12
9. Nocturne in C minor, B. 108 — 43:09
10. Nocturne Oubliée in C sharp minor — 46:23
All music used in this video is opensource and is originally from musopen.org/music. I just made this selection and tuned it to 432 Hz for everybody, who feels it differently as I do.
Please enjoy this great peace of art and let me know, if there is any classical music you want me to edit for you. Ill do my best! :-)
Dirigent, componist en pianist Reinbert de Leeuw is op 14 februari 2020 op 81-jarige leeftijd overleden.
In de jaren zestig brak pianist en componist Reinbert de Leeuw een lans voor de destijds nagenoeg vergeten Franse componist Erik Satie. Een man die rond de vorige eeuwwisseling volledig tegen de tijdgeest in componeerde. Satie schreef korte, uitgeklede muziek. In de handen van Reinbert de Leeuw werd iedere tempowisseling en wending in het werk van Satie ongekend expressief. De Leeuw verkocht er talloze platen mee.
Lees meer: www.vpro.nl/vrije-geluiden/lees/artiesten/reinbert-de-leeuw.html# Maestro Reinbert de Leeuw performs Gnossiennes 1-6 composed by Erik Satie.
Reinbert de Leeuw has a fascination for the French excentric composer Erik Satie. In the 60s and 70s Reinbert de Leeuws recordings of Saties music were immensely popular. Thirty years later Reinbert de Leeuw is still fascinated by Saties music and performs all six Gnossiennes with new tempi.
broadcast may 13th 2018 10.30 a.m. (GMT 1)
more music: www.vpro.nl/vrijegeluiden
This video was recorded in TivoliVredenburg for VPRO Vrije Geluiden: music program made by the Dutch public broadcast organization VPRO
Easily one of the best Chopin recordings ever made.
[Highlights/comments below]
00:00 — Ballade Op.23 No.1 in G minor
09:36 — Ballade Op.38 No.2 in F (A minor)
17:28 — Ballade Op.47 No.3 in A-flat
24:57 — Ballade Op.52 No.4 in F minor
A milestone in the Romantic piano literature, and a stupendous recording of it. The number of great moments in this is probably too great to count (06:48, 08:03, 15:52, 18:40, 24:23, with many more in between, and the entire 4th Ballade is a single unbroken wonder from its miraculous beginning onward — although see the famous passage at 28:36, and the numinous 34:18).
Chopin is — popularly, but not critically — seen primarily as a great melodist, which reputation does him a great disservice. In the Ballades Chopin does something which Beethoven reserved for his sonatas (and which Chopin never did in his), which was to introduce daring and very effective structural modifications to Sonata form. One obvious example of such a novelty is the «mirror reprise», where the two expositional themes appear in reverse order during the recapitulation.
There are many moments of harmonic/stuctural interest in the Ballades, and some of them have become quite famous. I cant possibly go through everything, so Ill try to flag some things out.
— The unusual extended Neapolitan Sixth that opens Op.23.
— The D in m.7 of the Op.23 — it is a subject of considerable debate if this is a harmonic necessity, setting up a late resolution, or an implied pedal point
— Constant metrical changes in Op.23.
— The unusual key relationship between the two main themes of Op.38.
— The abrupt end of the post-recapitulation development section (in itself odd) of Op.38.
— The structural role of the opening gesture of the Op.47. It very clearly recurs near the end, but on cursory examination occurs nowhere else in the piece. (It is not actually difficult, with a bit of thought, to figure out how the opening bars feed into the rest of the piece.)
— The use of dissonances, some passing and some sustained, as an architectural device in op.38.
— The rather surprising combination of variation/sonata form in Op.52 (something Liszt did more conspicuously in his B Minor Sonata.)
— The use of counterpoint as dramatic device in Op.52 at numerous points.
— The rather Beethovenian expected-but-not-actually-there ending in Op.52.
— Chromaticism in the coda of the Op.52 so intense the section aurally drifts somewhere close to atonality.
1. 0:06 Op. 9, No. 1 in B flat minor. Larghetto
2. 5:53 Op. 9, No. 2 in E flat major. Andante
3. 10:29 Op. 9, No. 3 in B major. Allegretto
4. 17:09 Op. 15, No. 1 in F major. Andante cantabile
5. 22:07 Op. 15, No. 2 in F sharp major. Larghetto
6. 25:43 Op. 15, No. 3 in G minor. Lento
7. 30:53 Op. 27, No. 1 in C sharp minor. Larghetto
8. 36:32 Op. 27, No. 2 in D flat major. Lento sostenuto
9. 42:27 Op. 32, No. 1 in B major. Andante sostenuto
10. 47:27 Op. 32, No. 2 in A flat major. Lento
11. 53:01 Op. 37, No. 1 in G minor. Lento
12. 59:51 Op. 37, No. 2 in G major. Andante
13. 1:06:17 Op. 48, No. 1 in C minor. Lento
14. 1:12:25 Op. 48, No. 2 in F sharp minor. Andantino
15. 1:20:11 Op. 55, No. 1 in F minor. Andante
16. 1:25:36 Op. 55, No. 2 in E flat major. Lento sostenuto
17. 1:31:19 Op. 62, No. 1 in B major. Andante
18. 1:38:51 Op. 62, No. 2 in E major. Lento
19. 1:45:11 Op. 72, No. 1 in E minor. Andante
20. 1:49:19 Op. posth in C sharp minor. Lento con gran espressione
21. 1:53:18 Op. posth in C minor. Andante sostenuto
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