Alexandra Dariescu – plays Chopin, Symanowski
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Sam Haywood plays Chopin’s Fantasy Impromptu on Chopin’s Pleyel Piano! — EdwardianPiano
I love this performance so much- there’s something very special about watching and hearing this great piano piece of Chopin’s being played on his very piano…
via Sam Haywood plays Chopin’s Fantasy Impromptu on Chopin’s Pleyel Piano! — EdwardianPiano
Evgeny Kissin plays 8 Chopin Etudes op. 10 & op. 25 – video 2009
Evgeny Kissin playing 8 of Chopin’s Etudes from op. 10 and op. 25, live in Moscow in 2009. This recital was in memory of Yevgeny Svetlanov, and at the end Kissin made a very graceful touch by laying all the flowers at the foot of the enlarged photo of Svetlanov. Timing below:
00:00 – etude op. 10 no. 1
02:03 – etude op. 10 no. 2
03:27 – etude op. 10 no. 3
07:45 – etude op. 10 no. 4
09:53 – etude op. 10 no. 12 ‘Revolutionary’
12:44 – etude op. 25 no. 5
16:22 – etude op. 25 no. 6
18:31 – etude op. 25 no. 11
Евгений Кисин – Фредерик Шопен – Этюды
24 Chopin Preludes – Andras Schiff, Pianist
Frédéric Chopin 24 Preludes Op 28
András Schiff, piano supplied by Fabbrini (Pescara, Abruzzo, Italy)
1. In C Major 0:25
2. In A Minor 1:09
3. In G Major 3:06
4. In E Minor 4:09
5. In D Major 5:49
6. In B Minor 6:28
7. In A Major 8:14
8. In F Sharp Minor 8:57
9. In E Major 11:00
10. In C Sharp Minor 12:11
11. In B Major 10:41
12. In G Sharp Minor 13:22
13. In F Sharp Major 14:39
14. In E Flat Minor 17:18
15. In D Flat Major (“Raindrop”) 17:56
16. In B Flat Minor 22:43
17. In A Flat Major 23:58
18. In F Minor 27:15
19. In E Flat Major 28:14
20. In C Minor 29:53
21. In B Flat Major 31:28
22. In G Minor 33:26
23. In F Major 34:14
24. In D Min 35:18
Nelson Freire – Chopin Piano Concerto No. 2
FourthMovement – The Best of Classical Music
Frédéric Chopin: Piano Concerto No. 2 in F minor, Op. 21
Nelson Freire, soloist
Marin Alsop, conductor
São Paulo Symphony Orchestra
Horowitz in London – Scarlatti, Chopin, Schumann, Rachmaninov, Scriabin (1982)
Vladimir Horowitz was in ill health and was heavily medicated when this recital was taped in May of 1982. Recorded at Royal Festival Hall.
Part I
00:01:03 – God Save The Queen
00:02:18 – Scarlatti Sonata in A flat major K127
00:05:10 – Scarlatti Sonata in F minor K466
00:08:48 – Scarlatti Sonata in F minor K184
00:10:52 – Scarlatti Sonata in A major K101
00:13:25 – Scarlatti Sonata in B minor K87
00:16:17 – Scarlatti Sonata in E major K135
00:19:03 – Chopin Polonaise-Fantaisie Op.61
00:33:08 – Chopin Ballade No.1 Op.23
00:43:12 – Horowitz talks about himself
Part II
01:03:40 – Schumann Kinderszenen Op.15
Rachmaninov Piano Sonata No.2 Op.36:
01:22:10 – I. Allegro agitato
01:32:12 – II. Non allegro – Lento
01:38:21 – III. L’istesso tempo – Allegro molto
Encores:
01:46:15 – Chopin Waltz Op.69-1
01:49:57 – Rachmaninov Polka de W.R.
01:54:22 – Scriabin Etude Op.8-12
Chopin – 2 Piano Concertos
NOTE: These concertos are so beautiful! Plese open up your Heart and give in to feel the emotions. They were both written in his early 20s.
Chopin Piano Concerto No. 1 Op.11 Evgeny Kissin
Chopin – Pianoconcert nr. 2 – Pianist Rosalía Gómez Lasheras
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Wikipedia – Chopin Concertos
The Piano Concerto No. 1 in E minor, Op. 11, is a piano concerto written by Frédéric Chopin in 1830. It was first performed on 11 October of that year, in Warsaw, with the composer as soloist, during one of his “farewell” concerts before leaving Poland.
It was the first of Chopin’s two piano concerti to be published, and was therefore given the designation of Piano Concerto “No. 1” at the time of publication, even though it was actually written immediately after what was later published as Piano Concerto No. 2. It is dedicated to Friedrich Kalkbrenner.
The concerto is scored for solo piano, pairs of flutes, oboes, clarinets, and bassoons, 4 horns, 2 trumpets, tenor trombone, timpani and strings.
Structure
It contains the three movements typical of instrumental concertos of the period:
- Allegro maestoso
- Romanze – Larghetto in E major
- Rondo – Vivace in E major
Classical critics usually fall into one of two schools of thought concerning the piece. The first of these says that, given that Chopin was a composer for the piano first and foremost, the orchestral part of this piece acts more as a vehicle for the pianist, with the individual instrumental parts being uninteresting to perform. The second suggests that the orchestral backing is carefully and deliberately written to fit in with the sound of the piano, and that the simplicity of arrangement is in deliberate contrast to the complexity of the harmony.
Both the first and second movements feature unusual modulations; in the opening Allegro, the exposition modulates to the parallel major, i-I, instead of the expected i-III. This tonal relation (i-III) between the second and the third theme finally occurs in the recapitulation, where an actual i-I modulation would have been expected, producing a different effect. The Romanze, although not strictly in sonata form, has its second theme of the exposition ascribe to the classical model of modulating to the dominant (I-V), and, when it returns, it modulates to the mediant (III).
Mily Balakirev re-orchestrated the concerto (using the same orchestral forces as Chopin employed), and also wrote arrangements for violin and orchestra as well as for piano solo of the second movement.
First movement
Chopin followed the structural example of concertos in the style of Jan Ladislav Dussek and Johann Nepomuk Hummel, with which he was familiar. He was interested in neither the Beethoven-style dialogue between orchestra and soloist, nor in a Weber-style interweaving of voices.
The first movement of the E minor concerto has three themes, which are introduced by the orchestra. The piano then plays the first theme (bar 139), followed by the lyric second theme (bar 155), accompanied by the main motif of the first theme in bass counterpoint. The third theme is in E major, introduced in the exposition by the orchestra and taken over by the piano (bar 222). The development begins in bar 385, with the piano opening with the second theme; the orchestra then develops the first theme. The recapitulation begins in bar 486 again with the orchestra playing its opening theme. The coda, whose bass trill paints a gloomy backdrop, requires utmost care by the pianist. Typical performances of the first movement last from 18 to 23 minutes.
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