Adagietto | Chopin - Piano Sonata No. 2 and No. 3 | Maria João Pires @Adagietto | Uploaded April 2016 | Updated October 2024, 3 hours ago.
Frédéric Chopin - Piano Sonata No. 2 in B flat minor, Op. 35 and
Piano Sonata No. 3 in B minor, Op. 58, 1837 and 1844.
Maria João Pires live in Frankfurt, 2004.
00:00 Piano Sonata No. 2 in B flat minor, Op. 35
I. Grave - Doppio movimento
II. Scherzo
III. Marche funèbre. Lento
IV. Finale. Presto
25:57 Piano Sonata No. 3 in B minor, Op. 58
I. Allegro maestoso
II. Scherzo. Molto vivace
III. Largo youtu.be/uJQjlLcEFzU
IV. Finale. Presto, non tanto - Agitato
The Sonata No. 2 can be viewed as something of a life cycle. The first movement serves as the life force, struggling, loving, and suffering. The ensuing Scherzo enacts demonic forces in the main section and good forces in the lyrical alternate melody of the trio section. When this movement ends with a partial recalling of the second theme, it is not clear which set of forces has emerged victorious. The third movement Funeral March represents death or mourning for the hero of the first two movements. The ghostly finale, with its swirls of dark winds, has evoked many ominous images in the minds of listeners, and serves the life cycle here as a kind of final picture of the deceased, who lies in his quiet grave, with the rustles of the wind the only disturbance above.
There are many thematic and harmonic relationships between the movements, too. The harmonies in the Funeral March can be noticed in all three of the other panels. Also, there is a thematic kinship between the alternate melody in the first movement and the lovely theme in the trio to the Scherzo. Other ties between the first two movements exist: both are stormy and hard-driven at the outset, and each features a lyrical second theme. The structural likeness between the main themes in both these movements is also worth noting: each is built on repeating motifs, the first part of which is presented twice before moving upward on the keyboard to complete the thematic idea.
In the end, this sonata, while unorthodox in some respects, is a painstakingly worked out composition of great subtlety, hardly comprised of a loosely strung-together set of piano pieces. But for all its grand and profound design, it has always been Chopin's themes and keyboard writing that have made this work popular. The third movement Funeral March theme is as famous as any ever written, and the compelling nature of the fast themes in the first movements, and their alternate melodies as well, have made this sonata popular the world over.
The first movement of the Sonata No. 3, Allegro maestoso, falls into traditional sonata form, constructed from a decisive and sometimes impulsive first theme and a more extended second theme, highly lyrical with a detailed accompanimental filigree -- music that would not be out of place in Chopin's nocturnes. The musical texture thickens considerably in the central development section; Chopin devotes long passages to variants on the second subject, but much of the development is highly contrapuntal. Following the recapitulation, which again emphasizes the second subject, the movement ends with a surprisingly peaceful coda.
Frédéric Chopin - Piano Sonata No. 2 in B flat minor, Op. 35 and
Piano Sonata No. 3 in B minor, Op. 58, 1837 and 1844.
Maria João Pires live in Frankfurt, 2004.
00:00 Piano Sonata No. 2 in B flat minor, Op. 35
I. Grave - Doppio movimento
II. Scherzo
III. Marche funèbre. Lento
IV. Finale. Presto
25:57 Piano Sonata No. 3 in B minor, Op. 58
I. Allegro maestoso
II. Scherzo. Molto vivace
III. Largo youtu.be/uJQjlLcEFzU
IV. Finale. Presto, non tanto - Agitato
The Sonata No. 2 can be viewed as something of a life cycle. The first movement serves as the life force, struggling, loving, and suffering. The ensuing Scherzo enacts demonic forces in the main section and good forces in the lyrical alternate melody of the trio section. When this movement ends with a partial recalling of the second theme, it is not clear which set of forces has emerged victorious. The third movement Funeral March represents death or mourning for the hero of the first two movements. The ghostly finale, with its swirls of dark winds, has evoked many ominous images in the minds of listeners, and serves the life cycle here as a kind of final picture of the deceased, who lies in his quiet grave, with the rustles of the wind the only disturbance above.
There are many thematic and harmonic relationships between the movements, too. The harmonies in the Funeral March can be noticed in all three of the other panels. Also, there is a thematic kinship between the alternate melody in the first movement and the lovely theme in the trio to the Scherzo. Other ties between the first two movements exist: both are stormy and hard-driven at the outset, and each features a lyrical second theme. The structural likeness between the main themes in both these movements is also worth noting: each is built on repeating motifs, the first part of which is presented twice before moving upward on the keyboard to complete the thematic idea.
In the end, this sonata, while unorthodox in some respects, is a painstakingly worked out composition of great subtlety, hardly comprised of a loosely strung-together set of piano pieces. But for all its grand and profound design, it has always been Chopin's themes and keyboard writing that have made this work popular. The third movement Funeral March theme is as famous as any ever written, and the compelling nature of the fast themes in the first movements, and their alternate melodies as well, have made this sonata popular the world over.
The first movement of the Sonata No. 3, Allegro maestoso, falls into traditional sonata form, constructed from a decisive and sometimes impulsive first theme and a more extended second theme, highly lyrical with a detailed accompanimental filigree -- music that would not be out of place in Chopin's nocturnes. The musical texture thickens considerably in the central development section; Chopin devotes long passages to variants on the second subject, but much of the development is highly contrapuntal. Following the recapitulation, which again emphasizes the second subject, the movement ends with a surprisingly peaceful coda.
![Frédéric Chopin - Piano Sonata No. 2, III. Funeral March: Lento | Arturo B. Michelangeli (3/4) [HD]](https://i.ytimg.com/vi/oL_HFnnywEU/hqdefault.jpg "Frédéric Chopin - Piano Sonata No. 2, III. Funeral March: Lento | Arturo B. Michelangeli (3/4) [HD]
Frédéric Chopins Piano Sonata Nº 2 in B-flat minor Op. 35
Arturo Benedetti Michelangeli, piano
I. Grave - Doppio movimento http://youtu.be/Gw7UDd7r7fI
II. Scherzo http://youtu.be/72ch4nC1o44
III. Funeral March: Lento http://youtu.be/oL_HFnnywEU
IV. Finale: Presto http://youtu.be/OUXt2ihNFac
Complete Playlist: http://www.youtube.com/watch?v=Gw7UDd7r7fI&list=PLF2ayhcb2yRUKn41x0r2wznBFQauB2YFI&index=1
Chopin wrote the Funeral March that became the third of the four movements here in 1837 and composed the other three movements two years later. Almost since it was first heard, this work was looked on not as a sonata in form, but as a collection of four rather diverse pieces the composer assembled under one musical roof, Robert Schumann being the first to make the charge of a lack of cohesion between the various movements. However, several musicologists in the late twentieth century pointed out a number of previously overlooked or at least ignored qualities in this composition that bind the movements as inseparable musical siblings.
The sonata can be viewed as something of a life cycle. The first movement serves as the life force, struggling, loving, and suffering. The ensuing Scherzo enacts demonic forces in the main section and good forces in the lyrical alternate melody of the trio section. When this movement ends with a partial recalling of the second theme, it is not clear which set of forces has emerged victorious. The third movement Funeral March represents death or mourning for the hero of the first two movements. The ghostly finale, with its swirls of dark winds, has evoked many ominous images in the minds of listeners, and serves the life cycle here as a kind of final picture of the deceased, who lies in his quiet grave, with the rustles of the wind the only disturbance above.
There are many thematic and harmonic relationships between the movements, too. The harmonies in the Funeral March can be noticed in all three of the other panels. Also, there is a thematic kinship between the alternate melody in the first movement and the lovely theme in the trio to the Scherzo. Other ties between the first two movements exist: both are stormy and hard-driven at the outset, and each features a lyrical second theme. The structural likeness between the main themes in both these movements is also worth noting: each is built on repeating motifs, the first part of which is presented twice before moving upward on the keyboard to complete the thematic idea.
In the end, this sonata, while unorthodox in some respects, is a painstakingly worked out composition of great subtlety, hardly comprised of a loosely strung-together set of piano pieces. But for all its grand and profound design, it has always been Chopins themes and keyboard writing that have made this work popular. The third movement Funeral March theme is as famous as any ever written, and the compelling nature of the fast themes in the first movements, and their alternate melodies as well, have made this sonata popular the world over.
Sonate pour piano no 2 en si bémol mineur, op. 35, Frédéric Chopin
Sonata para piano n.º 2, Frédéric Chopin
II Sonata fortepianowa (Chopin)
Frédéric Chopins Klaviersonate Nr. 2 b-Moll op. 35")
![Richard Wagner - Tannhäuser, O du, mein holder Abendstern | Moon Music Box Aria Melody [HD]](https://i.ytimg.com/vi/pcRt5bA-mhk/hqdefault.jpg "Richard Wagner - Tannhäuser, O du, mein holder Abendstern | Moon Music Box Aria Melody [HD]
https://www.youtube.com/watch?v=pcRt5bA-mhk&list=PLF2ayhcb2yRUee6NQoXAk21HyX8EcCtEd&index=1
Richard Wagner - Tannhäuser und der Sängerkrieg auf Wartburg | O du, mein holder Abendstern (O thou, my gracious Evening Star | Romance à LÉtoile du Soir) Wolframs aria from Tannhäuser. Music Box plays Abendstern-lied with contemplative images of the different phases of the Moon projectet onto the ceiling by a Magic Lantern.
Wolfram sings an ode to the Evening Star, Venus. One of the most beautiful baritone arias ever written. It may not be as flashy as the Queen of the Night aria or even Nessun Dorma, but Wagners aria for Wolfram from the opera, Tannhäuser, is like an old faithful companion that never leaves your side.
Bryn Terfel, Berliner Philharmoniker, Claudio Abbado http://youtu.be/PLpLBssY9ko?t=2m19s
O du, mein holder Abendstern, Wolframs aria from Tannhäuser
Wie Todesahnung Dämm rung deckt die Lande,
umhüllt das Tal mit schwärzlichem Gewande;
der Seele, die nach jenen Höhn verlangt,
vor ihrem Flug durch Nacht und Grausen bangt.
Da scheinest du, o lieblichster der Sterne,
dein Sanftes Licht entsendest du der Ferne;
die nächtge Dämm rung teilt dein lieber Strahl,
und freundlich zeigst du den Weg aus dem Tal.
O du, mein holder Abendstern,
wohl grüsst ich immer dich so gern:
vom Herzen, das sie nie verriet,
grüsse sie, wenn sie vorbei dir zieht,
wenn sie entschwebt dem Tal der Erden,
ein selger Engel dort zu werden!
O thou, my gracious Evening Star
Like a portent of death, twilight shrouds the earth
and envelops the valley in its sable robe;
the soul, that yearns for those heights,
dreads to take its dark and awful flight.
There you shine, o fairest of the stars,
and shed your gentle light from afar;
your friendly beam penetrates the twilight gloom
and points the way out from the valley.
Oh thou, my gracious Evening Star,
I always gladly greeted thee:
from a heart that never betrayed its faith,
greet her when she passes,
when she soars above this earthly valley
to become a blessed angel in Heaven!
Music Box plays Abendstenlied (Hymn to the Night Star) from Tannhäuser with contemplative images of the different phases of the Moon projectet onto the ceiling by a Magic Lantern.
King Ludwig II of Bavaria. Ludwig, ou le Crépuscle des Dieux, Luchino Visconti. Instrumental Sountrack.
Mira Spieluhr spielt Abendstern-Lied aus Tannhäuser | Spieluhr | Spieldose | Music Box | Musik Box | Boîte à musique | Carillon | Caixa de música | Caja de música | Speeldoos (muziekinstrument) | Spilledåse | Mängutoos | Muzikskatolo | Kotak musik | Pozytywka | Carillone | Soittorasia | Speldosa | Hộp nhạc | صندوق_موسيقي | جعبه_موسیقی | תיבת_נגינה | オルゴール | نکا_پیانو | กล่องดนตรี | 八音盒")
![Debussy - Clair de Lune [HD]](https://i.ytimg.com/vi/qzGNP02tNgo/hqdefault.jpg "Debussy - Clair de Lune [HD]
Claude-A. Debussy - Clair de Lune (Mondglanz, Mondschein, Moonlight), Suite Bergamasque. The Suite bergamasque was first composed by Debussy, 1890-1905. Claudio Arrau, Piano.
Solar Eclipse by Moon 20.III.2015
Claude Debussys famous Clair de lune is the third piece of the Suite bergamasque for piano, a work whose title was chosen as much for its composers love of the word-sounds as for its Renaissance implications (though the work can rightly be described as something of a tribute to the French harpsichordists of olden days).
The D flat major of Clair de lune is perfectly chosen, the gleaming melody in parallel thirds (con sordina, Debussy requests) expertly balanced by the beautifully dissonant tempo rubato that follows it. During the un poco mosso middle section of Clair de lune, the music swells far past the pianissimo of the opening, and in its climax one might say that the young composer has crafted more of sunlight than of moonlight; the incessant arpeggios may well be overdone, but one can cherish them all the same. Little wisps of these arpeggios find their way over into the reprise of the opening music, and the rolling tones of the middle section are given a few measures to plead their case once more before the final chromatic cadence, a moment of absolute tranquility, is made.
Clair de Lune is a French poem written by Paul Verlaine in the year 1869. It is the inspiration for the third and most famous movement of Debussys 1890 Suite bergamasque of the same name. Clair de lune (Moonlight) is from Verlaines early collection Fêtes galantes (Gallant Parties, 1869).
Clair de lune
Votre âme est un paysage choisi
Que vont charmant masques et bergamasques
Jouant du luth et dansant et quasi
Tristes sous leurs déguisements fantasques.
Tout en chantant sur le mode mineur
Lamour vainqueur et la vie opportune,
Ils nont pas lair de croire à leur bonheur
Et leur chanson se mêle au clair de lune,
Au calme clair de lune triste et beau,
Qui fait rêver les oiseaux dans les arbres
Et sangloter dextase les jets deau,
Les grands jets deau sveltes parmi les marbres.
Moonlight
Your soul is a select landscape fair
Where charming masqueraders and bergamaskers go
Playing the lute and dancing and almost
Sad beneath their fantastic disguises.
All sing in a minor key
Of victorious love and the opportune life,
They do not seem to believe in their happiness
And their song mingles with the moonlight,
With the still moonlight, sad and beautiful,
Which gives the birds to dream in the trees
And makes the fountain sprays sob in ecstasy,
The tall, slender fountain sprays among the marble statues.
Moonlight
Your soul is as a moonlit landscape fair,
Peopled with maskers delicate and dim,
That play on lutes and dance and have an air
Of being sad in their fantastic trim.
The while they celebrate in minor strain
Triumphant love, effective enterprise,
They have an air of knowing all is vain,—
And through the quiet moonlight their songs rise,
The melancholy moonlight, sweet and lone,
That makes to dream the birds upon the tree,
And in their polished basins of white stone
The fountains tall to sob with ecstasy.
Luar
A tua alma é uma paisagem escolhida
Onde enganam máscaras e bergamascas
Tocam lira e dançam quase
Tristes sob os seus fantásticos disfarces.
Cantando em modo menor
O amor triunfante e a vida auspiciosa,
Não parecem acreditar na sua felicidade
E a sua canção se mistura com o luar,
Com o calmo luar triste e belo,
Que faz sonhar as aves nas árvores
E soluçar de êxtase os jactos de água,
Os grandes jactos de água esbelta entre os mármores.
Paul Verlaine, 1869
Reacting against realism and rhetoric, the Symbolists tried instead to evoke a mood, an essence, an Ideal. Just as the Moon takes its light from the Sun, they sought to illuminate seemingly inaccessible subjects indirectly, by creating reflections. Here we have masks and dancing, fantastic disguises, fountains sobbing in ecstasy, moonlight: a swirl of suggestive images that speaks volumes about the human soul without really saying anything. Rather like music, in fact. Both Ravel and Fauré composed pieces based on Verlaines poetry, and this poem inspired Claude Debussy to write his own Clair de lune, the third movement of his Suite bergamasque and the work for which he is now most famous.")
