Adagietto | Frédéric Chopin - Berceuse, Op. 57 | Jorge Bolet @Adagietto | Uploaded December 2013 | Updated October 2024, 3 minutes ago.
Frédéric François Chopin - Berceuse for piano in D flat major, Op. 57, Romantic Period, 1844. Jorge Bolet (November 15, 1914 – October 16, 1990) performs Chopin's Berceuse in D major during a recital recording in 1962 in London. Classic Archive dedicated to two South American pianists: Claudio Arrau and Jorge Bolet.
Other Bolet'sPerformances:
Chopin Nocturne Op.9 Nº2: youtu.be/BXvsWStcT3M
Complete Chopin Recordings: youtu.be/-fviVRrfkws
"Chopin chose each musical direction carefully, and meant them to be respected; he hated aridity of the soul, but affectation and vapidity even more: for whiever grasps only its surface, his music quickly slips away. A long flight of passion which in itself counters all sentimentality, as much as the delicate Berceuse. This sequence of variations of increasing exuberance on a limpid melody reveals the cardinal importance which Chopin attached to the left hand, that is, to be harmonic and rhythmic foundation of his music provided that the fluid garlands of melody in the right hand do not run counter to this strict support. "Look at those trees," Liszt is said to have explained, "the wind plays in their leaves, but the trees do not stir. That is Chopin Rubato." It is at this price, which only the most talented interpreters can afford, that Chopin stops being merely pretty and becomes great."
A Berceuse is a Musical Composition usually in 6/8 time that resembles a Lullaby. Otherwise it is typically in triple meter. Tonally most berceuses are simple, often merely alternating tonic and dominant harmonies; since the intended effect is to put a baby to sleep, wild chromaticism would be somewhat out of character. Another characteristic of the berceuse, for no reason other than convention, is a tendency to stay on the "flat side"; noted examples including the berceuses by Chopin, who
pioneered the form, Liszt, and Balakirev, which are all in D♭.
Frédéric Chopin's Berceuse Op. 57 (1843--44) is a lullaby to be played on piano. It consists of variations in D-flat major. At first the composer titled the work Variations, but the title was altered for publication to the current Berceuse. It was first published by J. Meissonnier of Paris in 1844 and dedicated to Elise Gavard (who was born in 1842).
This is a late work in Chopin's oeuvre, coming at a time when the composer's output was in decline along with state of his health. He had spent the summer of 1843, when most of this work was written, in Nohant, at the residence of his lover, novelist Aurore Dupin Dudevant, better known by her pseudonym, George Sand. Some have suggested that the inspiration for this Berceuse or lullaby was the young daughter of singer Pauline Viardot, who had left the child in the care of Sand during that summer. Ultimately this assertion must be considered conjecture, but the character of the music would hardly seem at odds with it.
Chopin's expressive language here is uncomplicated and the music quite straightforward. Moreover, there is something childlike in the simplicity and playful innocence of the main theme. Yet, the composer invests more in the work's mood and character than one might realize. The main theme sounds dreamy and innocent at the outset, but as it unfolds atop one of Chopin's ostinato basses it gradually takes on subtle changes, becomes more sophisticated - perhaps more adult - as it sprouts new ideas and gathers ornamentation. Still, it never loses its innocent demeanor, even if there is a feeling the piece is gradually fading or decaying. When the end is reached, the mood has turned wistful, even somewhat disconsolate. A typical performance of the Berceuse lasts from four to five minutes.
Frédéric François Chopin - Berceuse for piano in D flat major, Op. 57, Romantic Period, 1844. Jorge Bolet (November 15, 1914 – October 16, 1990) performs Chopin's Berceuse in D major during a recital recording in 1962 in London. Classic Archive dedicated to two South American pianists: Claudio Arrau and Jorge Bolet.
Other Bolet'sPerformances:
Chopin Nocturne Op.9 Nº2: youtu.be/BXvsWStcT3M
Complete Chopin Recordings: youtu.be/-fviVRrfkws
"Chopin chose each musical direction carefully, and meant them to be respected; he hated aridity of the soul, but affectation and vapidity even more: for whiever grasps only its surface, his music quickly slips away. A long flight of passion which in itself counters all sentimentality, as much as the delicate Berceuse. This sequence of variations of increasing exuberance on a limpid melody reveals the cardinal importance which Chopin attached to the left hand, that is, to be harmonic and rhythmic foundation of his music provided that the fluid garlands of melody in the right hand do not run counter to this strict support. "Look at those trees," Liszt is said to have explained, "the wind plays in their leaves, but the trees do not stir. That is Chopin Rubato." It is at this price, which only the most talented interpreters can afford, that Chopin stops being merely pretty and becomes great."
A Berceuse is a Musical Composition usually in 6/8 time that resembles a Lullaby. Otherwise it is typically in triple meter. Tonally most berceuses are simple, often merely alternating tonic and dominant harmonies; since the intended effect is to put a baby to sleep, wild chromaticism would be somewhat out of character. Another characteristic of the berceuse, for no reason other than convention, is a tendency to stay on the "flat side"; noted examples including the berceuses by Chopin, who
pioneered the form, Liszt, and Balakirev, which are all in D♭.
Frédéric Chopin's Berceuse Op. 57 (1843--44) is a lullaby to be played on piano. It consists of variations in D-flat major. At first the composer titled the work Variations, but the title was altered for publication to the current Berceuse. It was first published by J. Meissonnier of Paris in 1844 and dedicated to Elise Gavard (who was born in 1842).
This is a late work in Chopin's oeuvre, coming at a time when the composer's output was in decline along with state of his health. He had spent the summer of 1843, when most of this work was written, in Nohant, at the residence of his lover, novelist Aurore Dupin Dudevant, better known by her pseudonym, George Sand. Some have suggested that the inspiration for this Berceuse or lullaby was the young daughter of singer Pauline Viardot, who had left the child in the care of Sand during that summer. Ultimately this assertion must be considered conjecture, but the character of the music would hardly seem at odds with it.
Chopin's expressive language here is uncomplicated and the music quite straightforward. Moreover, there is something childlike in the simplicity and playful innocence of the main theme. Yet, the composer invests more in the work's mood and character than one might realize. The main theme sounds dreamy and innocent at the outset, but as it unfolds atop one of Chopin's ostinato basses it gradually takes on subtle changes, becomes more sophisticated - perhaps more adult - as it sprouts new ideas and gathers ornamentation. Still, it never loses its innocent demeanor, even if there is a feeling the piece is gradually fading or decaying. When the end is reached, the mood has turned wistful, even somewhat disconsolate. A typical performance of the Berceuse lasts from four to five minutes.
![Philip Glass - The Hours [HD]](https://i.ytimg.com/vi/LpBg05HV6Q8/hqdefault.jpg "Philip Glass - The Hours [HD]
Philip Glass - The Hours, 2002. Michael Riesman transcription.
Branka Parlić, piano. Synagogue, Novi Sad. 5.VII.2005
The Hours, Music from the Motion Picture for piano.
There are movies where you notice the soundtrack, and others where you dont. The latter is usually considered ideal, and yet its impossible to ignore Philip Glass pervasive, all-encompassing soundtrack while watching Stephen Daldys celebrated follow-up to Billy Elliot (the same could just as easily be said of Elmer Bernsteins majestic music for Far From Heaven). This isnt such a bad thing - far from it. The piano-dominated score, incorporating motifs from Glass Satyagraha, Glassworks, and Solo Piano is, by turns, lush, sumptuous, and stirring.
Philip Glass score for the film The Hours is very typical of Glass, with its nearly constant repetition and slowly evolving variations on a theme. It suits the moods of the film perfectly, reflecting mesmerically the inner thoughts and emotions of the characters, but remaining subservient to the film itself. Michael Riesman, a long-time associate of Glass, has transcribed the score of The Hours for piano. It wasnt hard for him to do this: the score prominently features the piano alongside the orchestra, and Riesman performed the piano part in the soundtrack recording. His solo piano version covers exactly the same music as on the soundtrack album, but to call it a reduction of an orchestral work would be unfair. Yes, it is one instrument instead of many, but just by the facts that its a single performer being responsible for realizing the music and its no longer an accompaniment to screen images, Riesman is able to add to it more expression and more life. Even though his tempos and the track times match the soundtrack almost exactly, he is able to take tiny liberties with the phrasing of themes so that the quiet desperation of the music isnt quite as desperate. It doesnt matter if he uses a larger array of dynamics and is not quite as strict with time. Whereas listening to the soundtrack without the film can be almost unbearably boring or depressing, depending on your state of mind, listening to Riesmans version is less so. Although the track titles make no sense without film, in this version, the music is able to stand on its own as a distinct creative work, with more vitality and wider-ranging sentiment than the soundtrack.
The complicated storyline, based on Michael Cunninghams Pulitzer Prize-winning novel (which was, in turn, inspired by Virginia Woolfs Mrs. Dalloway) is inherently dramatic and emotionally compelling enough that it doesnt really need music to get its message across. And the actors, including Nicole Kidman (Virginia Woolf), Julianne Moore (Laura Brown), and Meryl Streep (Clarissa Vaughn), breathe such life into these three distinct characters, living in three different time periods, that they dont need really need the music either. But its always there, like a ghostly presence in each womans life, helping to tie their divergent storylines together as much as the themes that are common to each. In the end, the score is as much a unifying force as Peter Boyles deft editing and, most importantly, Woolfs Mrs. Dalloway, which was originally to be called The Hours.
Pianist Branka Parlić is one of the most prominent interpreters of contemporary classical music in Eastern Europe. She graduated from the Belgrade University of Musical Arts in the late 1970s and studies under Professor Olga Mihailović. She later honed her craft at the Summer Music Academy in Nice under Professor Pierre Sancan of the Paris Conservatory. While studying, she also co founded the well-known Ensemble for Different New Music.
Taking on the task of presenting the cycle of the legendary Phillip Glass Metamorphosis, is probably the most challenging task in the sphere of contemporary minimalism since Parlics classical undertaking of Erik Saties Gnossiennes in the 1980s. The album which she released back then, called Initiés, was the first album that contained one of Saties compositions ever recorded here.
Branka Parlić premiered the Glass pieces in Novi Sad in 2004 and the performance of Metamorphosis No.2 recorded at this show was broadcasted regularly on prestigious British TV channel Classics FM. Recently, another British TV channel C Music TV http://www.cmusic.tv/cmusic/ started to broadcast two videos in Parlic rendering: Opening by Philip Glass and Spiegel im Spiegel by Arvo Pärt. She also act as Artistic Director of the Concert Series New Ears for New Music in Novi Sad.")
