Allegro de Concert, Andantino | Ballades |
Barcarolle, Berceuse, Bolero, Bourr�es, Canon, Cantabile |
Concertos | Contredanse, Duo Concertant,
Ecossaises | Etudes | Fantasias, Fugue, Funeral March, Galop Marquis |
Impromptus, Largo | Mazurkas |
Nocturnes | Polonaises |
Preludes | Rondos |
Scherzos | Sonatas |
Songs | Tarantella, Trio, Variations |
This text is for reference
purpose only and may not be used in any
way or modified without my permission or citation.
Albumblatt E major (Feuille d'Album / Moderato), 1843
The Albumleaf was written in 1843, with a dedication to his pupil Countess
Allegretto, F sharp major, 1829
Allegro de Concert, A major, Op. 46, 1841
drafted the first few notes of the allegro de concert around 1832. He
to make it the third piano concerto but finally decided to stay with
the piano solo version in 1841 and dedicated it to Mademoiselle F.
Muller. A development of Chopin's success
in his first two concertos, yet it is not frequently heard and played
among listeners. The opening subject contains passages of staccato
chords and octaves, suggesting the concert motif right in the first
place. The melodic phrase comes in a way which is as recitative as usual in Chopin's
concertos. The second melody comes after a march-like presentation.
After some modulations, the middle lyrical section in E major comes as a central
part to the piece. It develops to cascading and conversation-like passages
that end with the trills to the orchestral part, which is now played by
the pianist alone. The melancholic section in F sharp minor returns to
the optimistic part in A major that repeats the main theme in a more
dramatic form. The octaves then conclude the work as effectively as the
orchestra could have performed. There has been an idea of reconstructing
this work with the orchestra part; any modification of the composer's
original creation however might not prove its effect.
G major, 1838
"Wiosna" was written in 1838 based on a poem by Chopin's exile friend Stefan Witwicki.
It was unclear when Chopin transcribed the song for solo piano. It was
also interesting that Chopin did not make any piano arrangement for his
other songs. The melody is simple yet sad. Franz Liszt also transcribed
this song for solo piano. Liszt's version is twice longer and employed
more decorations in the upper octaves. Chopin however stayed close to
the original song and perhaps he just wanted to feel the spring tone
when there might be no need for the voice.
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CHOPIN : THE POET OF THE PIANO - � by Anh Tran. All rights reserved
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