Adagietto | Frédéric Chopin - Étude Op.10 No. 3 in E Major, "Tristesse" | Sviatoslav Richter @Adagietto | Uploaded April 2012 | Updated October 2024, 1 hour ago.
Frédéric Chopin - Étude Op.10 Nº 3 in E Major, "Tristesse", 1832.
Sviatoslav Richter, piano
The Étude in E major Op.10, Nº 3 is the first of Chopin's studies to resemble the composer's own Nocturnes more than a traditional technical study. It has been called a tone-poem in miniature, and the wonderful cantabile phrasing bespeaks the composer's great love of opera. A famous anecdote relates how the composer, while teaching this particular work to a pupil (Adolf Gutmann), broke down and cried out, "Oh, my homeland!".
The twenty-four Études of Frédéric Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner," and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The twelve Études published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious pianist can ignore.
Frédéric Chopin Étude for Piano N.º 3 Op. 10, in E major
Frédéric Chopin Estudo para Piano N.º 3 Opus 10, em mi maior
Fryderyk Chopin Studio Op. 10 n. 3, Tristesse o Tristezza.
Frédéric Chopin Estudio Op.10 n.º 3 en Mi mayor
Fryderyka Chopina Etiuda E-dur op. 10 nr 3, trzecia
Frédéric Chopin - Étude Op.10 Nº 3 in E Major, "Tristesse", 1832.
Sviatoslav Richter, piano
The Étude in E major Op.10, Nº 3 is the first of Chopin's studies to resemble the composer's own Nocturnes more than a traditional technical study. It has been called a tone-poem in miniature, and the wonderful cantabile phrasing bespeaks the composer's great love of opera. A famous anecdote relates how the composer, while teaching this particular work to a pupil (Adolf Gutmann), broke down and cried out, "Oh, my homeland!".
The twenty-four Études of Frédéric Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study "in [his] own manner," and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin's intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room. The twelve Études published as Chopin's Opus 10 are an indispensable tool of the modern pianist's craft: they are a rite of passage that no serious pianist can ignore.
Frédéric Chopin Étude for Piano N.º 3 Op. 10, in E major
Frédéric Chopin Estudo para Piano N.º 3 Opus 10, em mi maior
Fryderyk Chopin Studio Op. 10 n. 3, Tristesse o Tristezza.
Frédéric Chopin Estudio Op.10 n.º 3 en Mi mayor
Fryderyka Chopina Etiuda E-dur op. 10 nr 3, trzecia
![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")
