TOP 40 Songs of 2020 (Best Hit Music Playlist) on Spotify
TOP 40 Songs of 2020 (Best Hit Music Playlist) on Spotify
TOP 40 Songs of 2020 (Best Hit Music Playlist) on Spotify
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.
Piano: 1 Hour Chopin Spring Waltz In fact this song was composed by Paul de Senneville. This beautiful song is popularly known as «Spring Waltz». Maybe she was inspired by the great master. Check out:
Instrumental music channel with the best of classical music for your enjoyment. Classical music with the best of Bach, Mozart, Beethoven, Chopin, Vivaldi, Tchaikovsky, Villa Lobos, Grieg, Debussy and other composers,
Enjoy these beautiful songs of piano, violin, cello, guitar and orchestra to study, relax, meditate, calm down, work…
00:00:00 3 Sarabandes (1887): No. 1
00:05:33 3 Sarabandes (1887): No. 2
00:10:33 3 Sarabandes (1887): No. 3
00:14:47 3 Gymnopédies (1889): No. 1: Lent et douloureux
00:18:27 3 Gymnopédies (1889): No. 2: Lent et triste
00:21:45 3 Gymnopédies (1889): No. 3: Lent et grave
00:24:37 Gnossiennes 1-3 (1890): No. 1
00:28:45 Gnossiennes 1-3 (1890): No. 2
00:30:45 Gnossiennes 1-3 (1890): No. 3
00:34:11 Gnossiennes 4-6 (1889-1897): No. 4
00:37:02 Gnossiennes 4-6 (1889-1897): No. 5
00:39:53 Gnossiennes 4-6 (1889-1897): No. 6
00:41:26 2 Préludes du Nazaréen (1892): No. 1, assez lent
00:46:09 2 Préludes du Nazaréen (1892): No. 2, assez lent
00:49:15 Prélude de la porte, Héroique du Ciel (1894)
00:53:00 2 Pièces Froides (1897): No. 1: Airs a faire fuir: D’une manière très particulaire
00:55:59 2 Pièces Froides (1897): No. 1: Airs a faire fuir: Modestemente
00:57:42 2 Pièces Froides (1897): No. 1: Airs a faire fuir: S’inviter
01:00:44 2 Pièces Froides (1897): No. 2: Danses de travers: En y regardent à deux fois
01:01:38 2 Pièces Froides (1897): No. 2: Danses de travers: Passer
01:02:25 2 Pièces Froides (1897): No. 2: Danses de travers: Encore
01:03:47 Petite ouverture à danser (1900)
01:05:18 Poudre dOr, valse (1902)
01:09:53 Le Piccadilly (1904)
01:11:24 Véritables préludes flasques (1912): Sévere reprimande
01:12:07 3 Véritables préludes flasques (1912): Seul a la maison
01:13:16 3 Véritables préludes flasques (1912): On jou
01:14:02 Chapitres tournés en tous sens (1913): Celui qui parle trop
01:15:05 Chapitres tournés en tous sens (1913): Le porteur de grosses pierres
01:17:22 Chapitres tournés en tous sens (1913): Regrets des enfermés
01:18:58 3 Descriptions automatiques (1913): Sur un vaisseau
01:20:31 3 Descriptions automatiques (1913): Sur une lanterne
01:22:22 3 Descriptions automatiques (1913): Sur un casque
01:23:18 Embryons desséchés (1913): D’Holothurie
01:25:30 Embryons desséchés (1913): d’Edriopthalma
01:27:30 Embryons desséchés (1913): de Podophthalma
01:29:14 Heures séculaires et instantanées (1914): Obstacles venimeux
01:30:55 Heures séculaires et instantanées (1914): Crépuscule matinal (de midi)
01:32:09 Heures séculaires et instantanées (1914): Affolements grantiques
01:33:04 Sports et divertissements (1914): Choral inappétissant
01:33:52 Sports et divertissements (1914): La balançoire
01:34:32 Sports et divertissements (1914): La chasse
01:34:50 Sports et divertissements (1914): Le comédie italienne
01:35:25 Sports et divertissements (1914): Le réveil de la mariée
01:35:52 Sports et divertissements (1914): Colin-Maillard
01:36:28 Sports et divertissements (1914): La pêche
01:37:09 Sports et divertissements (1914): Le yachting
01:38:01 Sports et divertissements (1914): Le bain de mer
01:38:31 Sports et divertissements (1914): Le carnaval
01:38:58 Sports et divertissements (1914): Le golf
01:39:30 Sports et divertissements (1914): Le pieuvre
01:39:57 Sports et divertissements (1914): Les courses
01:40:19 Sports et divertissements (1914): Les quatre-coins
01:40:58 Sports et divertissements (1914): Le pique-nique
01:41:22 Sports et divertissements (1914): Le waterchute
01:41:59 Sports et divertissements (1914): Le tango
01:43:04 Sports et divertissements (1914): Le traineau
01:43:27 Sports et divertissements (1914): Le flirt
01:44:01 Sports et divertissements (1914): Le feu d’artifice
01:44:24 Sports et divertissements (1914): Le tennis
01:45:00 3 Valses distinguées du précieux dégoute (1914): Sa taille
01:45:54 3 Valses distinguées du précieux dégoute (1914): Son bincole
01:47:14 3 Valses distinguées du précieux dégoute (1914): Ses jambes
01:48:08 Avant-dernières pensées (1915): Idylle
01:49:21 Avant-dernières pensées (1915): Aubade
01:50:54 Avant-dernières pensées (1915): Méditation
01:51:53 Sonatine buraucratique (1917)
01:55:50 Nocturnes (1919): Doux et calme
01:58:58 Nocturnes (1919): Simplement
02:01:02 Nocturnes (1919): Un peu mouvementé
02:04:04 Nocturnes (1919): No. 4
02:06:31 Nocturnes (1919): No. 5
“China’s premier interpreter of Bach”, is what International Piano Magazine called Yuan Sheng. A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck, Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).
The title is misleading: the English Suites are more ‘French’ in character than the French Suites, which are more characteristic of the Italian style. ‘By design the composer is here less learned than in his other suites,’ remarked one early biographer, ‘and has mostly used a pleasing, more predominant melody.’ Just so, and the same is true of the pair of suites BWV 818 and 819 which fall outside the collection but belong with it in terms of style. To all of them Yuan Sheng brings considered tempi and precise articulation in the mould of Tureck. To Bach at his most uncomplicated, Sheng brings the virtues of simplicity and clarity.
Again Yuan Sheng draws the listener into his highly intelligent musical discourse, vibrant and moving, speaking through the medium of a modern Steinway piano.
Composer: Johann Sebastian Bach
Artist: Yuan Sheng (piano)
Alice Sara Ott interprète le Concerto pour piano et orchestre n°3 en ut mineur, op. 37, de Ludwig van Beethoven aux côtés de lOrchestre philharmonique de Radio France dirigé par Mikko Franck. Enregistré le 27 janvier 2018 à lAuditorium de la Maison de la Radio (Paris).
Le Concerto pour piano n°3 de Beethoven est créé à Vienne le 5 avril 1803, le même jour que l’oratorio Le Christ au mont des Oliviers et la Deuxième Symphonie. Ecrit en ut mineur, tonalité chère à son compositeur, il se découpe en trois mouvements. L’Allegro con brio s’ouvre sur une longue page orchestrale avec l’exposition des deux thèmes principaux, ensuite repris par le pianiste. Au cours du développement, un dialogue s’établit entre soliste et orchestre. Le mouvement s’achève par une cadence au piano, inspirée du premier thème.
Au cœur du Largo, les arpèges du piano soutiennent le chant entonné conjointement par la flûte et le basson, empreint de sérénité. Gérard Condé suggère une « transposition musicale de la scène du balcon de Roméo et Juliette ». Enfin, dans le Rondo, orchestre et soliste conversent avec vigueur.
« Il s’agit à coup sûr du premier «grand» concerto beethovénien […], marquant un progrès très sensible dans l’équilibre entre soliste et orchestre, enfin traités en véritables partenaires », remarque François-René Tranchefort.
00:00 — Début du concert
02:14 — 1er mouvement: Allegro con brio
19:35 — 2ème mouvement: Largo
29:19 — 3ème mouvement: Rondo
42:50 — Bis: Für Elise