![]() This complete collection of the nocturnes includes a useful thematic index and footnotes citing the differences between the manuscripts and the first editions. It’s hard to think of many works in the piano repertory where the competition on disc is more intense than in the two sonatas, and though Perianes’s performances are fluent enough and always thoughtful, they don’t come close to challenging the finest already available. Thierry de Brunhoff plays Chopin - Complete Nocturnes pianopera 4. The nocturnes (night pieces) are among the most introspective and personal of Chopin's works, as he was influenced by John Field's pieces of the same title. There’s a second Chopin release this month from Harmonia Mundi, a much more conventional recital programme from the Spanish pianist Javier Perianes, which is dominated by the second and third piano sonatas and framed by the three mazurkas Op 63. op-53 sagreras op53 nocturno n✢ chopin Sagreras, Julio - Guitar solo (standard notation. 20 in C-sharp minor, Lento con gran espressione Chopin, Frédéric. There’s a reined-in stiffness about his playing that is most effective in the more straightforward nocturnes in those that are more harmonically adventurous or melodically more elaborate, one longs for something more imaginative, less prosaic. Browse links for 'chopin nocturn' Free sheet music Instrumentations & Opus. There is always something special about hearing Chopin’s music on the kind of piano for which it was conceived, but there’s the sense in these performances that Planès could have used a wider range of tone colour and expression than he allows himself. ![]() Arthur Rubinstein understood their childlike wonder, his playing refreshingly, charmingly simple. ![]() 1967 Preview Chopin’s nocturnes could well have been written for the voice, their beautiful, lyrical melodies unfolding with a magic that few composers for piano can match.It’s certainly a superb-sounding instrument, with a wonderful balance between the registers, without any hint of hollowness in the treble, and no overpowering snarl from the bass. Chopin: Nocturnes Arthur Rubinstein CLASSICAL It’s by no means the first time that his works have been recorded on instruments of that time – 30 years ago, Cyril Huvé made a revelatory recording of the scherzos and ballades on two historical pianos, an 1828 Pleyel and an Érard from 1838 that Chopin almost certainly played, while Planès himself has previously recorded a Chopin recital disc, including a couple of the nocturnes, on the Pleyel that he uses here. Together with the mazurkas, the other miniature form that he made his own, the nocturnes provide a musical chronology of that development.įor his survey of the complete nocturnes, the French pianist Alain Planès has chosen to use a piano that dates back to the mid point of that development, an instrument made in Paris in 1836 by Chopin’s favourite piano maker, the Pleyel company. ![]() In some significant respects, Chopin’s development as a composer, and the steady refinement of his musical language, are inseparable from the increasing expressive power that the steady advancement in piano technology offered him through his career. ![]()
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