Uploaded May 2021 | Updated September 2026, 2 weeks ago
Frederic CHOPIN: scherzo no.4 - Leonora Armellini
Photos:Poland
From Wikipedia, the free encyclopedia
The Scherzo No. 4, Op. 54, in E major by Frédéric Chopin was composed in 1842 in Nohant.
The scherzo was published in 1843. Unlike the preceding three scherzi (Op. 20, Op. 31, Op. 39), the E-major is generally calmer in temperament, though it still possesses some exceptionally passionate and dramatic moments. The scherzo is in sonata rondo form, moving to a trio in C-sharp minor that is based on a Polish folk song. It is the only one of Chopin's four scherzos primarily in a major key.
Frederic CHOPIN: scherzo no.4 - Leonora Armellini
Photos:Poland
From Wikipedia, the free encyclopedia
The Scherzo No. 4, Op. 54, in E major by Frédéric Chopin was composed in 1842 in Nohant.
The scherzo was published in 1843. Unlike the preceding three scherzi (Op. 20, Op. 31, Op. 39), the E-major is generally calmer in temperament, though it still possesses some exceptionally passionate and dramatic moments. The scherzo is in sonata rondo form, moving to a trio in C-sharp minor that is based on a Polish folk song. It is the only one of Chopin's four scherzos primarily in a major key.




![Frederic CHOPIN: SCHERZO NO.3 - Adam Harasiewicz
Frederic CHOPIN: SCHERZO NO.3 - Adam Harasiewicz
Photos : POLAND
The Scherzo No. 3, Op. 39, in C♯ minor by Frédéric Chopin, completed in 1839, was written in the abandoned monastery of Valldemossa on the Balearic island of Majorca, Spain.[1] This is the most terse, ironic, and tightly constructed of the four scherzi, with an almost Beethovenian grandeur.
Frédéric Chopin dedicated this composition to one of his closest pupils, Adolphe Gutmann.
Structure
The piece begins in the key of C♯ minor, then moves to D♭ major, and returns to C♯ minor, concluding with a Picardy third. The composition opens with an almost Lisztian introduction, leading to a subject in octaves of pent-up energy. The key changes to D♭ major, with a chorale-like subject, interspersed with delicate falling arpeggios. Louis Kentner thinks of it as a Wagnerian melody of astonishing beauty, recalling the sound of tubas, harps and all the apocalyptic orchestra of Valhalla.[citation needed]
It begins with an introduction progressing into the fierce main theme. This is particularly difficult to perform, due to the technique needed to accurately and quickly execute the running octave patterns. The scherzo then moves into a transition section that leads back to the main theme. The following, singing style (cantabile) section is in D♭ major. The main theme and its sequences begin with strong chords that hold the melody followed by a downward flutter of notes. There follows a brief section consisting of a series of arpeggios. The elements of this lyrical section repeat themselves a few times and the piece then moves back into the main theme. Frederic CHOPIN: SCHERZO NO.3 - Adam Harasiewicz](https://i.ytimg.com/vi/iGAfRipRrIg/mqdefault.jpg)

![Luca Turilli: DARK FATE OF ATLANTIS
Luca Turilli: DARK FATE OF ATLANTIS
Singer: Alessandro CONTI
[Verse 1]
Thousands of years ago, at the limits of our world
A new kingdom rose on water, a new golden age for all
Human minds or entities, sons of astral infinity
But for sure the great Poseidon found his people and his throne
[Pre-Chorus 1]
Old world, to you we all belonged
Old world, the stars announced your fall
Ignotum fatum
[Verse 2]
Monumental growth, breaking rules of history
The lost continent was legend, soon the legend became myth
Power, strenght, prosperity, once too close to divinity
Until water became fire and swallowed all its lore
[Pre-Chorus 2]
Old world, the Icarus’ last fault
Old world, your fate lives on and on
Ignotum fatum
[Chorus 1]
Dark mantis, dark fate of Atlantis
At the gates of a timeless dimension
Dwell the ghosts of a myth not forgotten
Kept by the sirens and their infinite cry
The one surviving the ocean’s might
[Chorus 2]
Dark mantis, dark fate of Atlantis
At the gates of a timeless dimension
Dwell the ghosts of a myth not forgotten
Kept by the sea lords and their infinite force
The one surviving the Gods’ remorse
[Bridge]
Vita e morte in quell’umana vis
Che vibra ed arde vivida nei secoli
[Pre-Chorus 3]
Old world, to you we all belonged
Old world, the stars announced your fall
Ignotum fatum
[Chorus 1]
Dark mantis, dark fate of Atlantis
At the gates of a timeless dimension
Dwell the ghosts of a myth not forgotten
Kept by the sirens and their infinite cry
The one surviving the ocean’s might
[Chorus 2]
Dark mantis, dark fate of Atlantis
At the gates of a timeless dimension
Dwell the ghosts of a myth not forgotten
Kept by the sea lords and their infinite force
The one surviving the Gods’ remorse Luca Turilli: DARK FATE OF ATLANTIS](https://i.ytimg.com/vi/iVjLpWKtAiQ/mqdefault.jpg)


![P. TCHAIKOVSKY: PIANO CONCERTO NO.1 - R.MUTI,A.GAVRILOV
P. TCHAIKOVSKY: PIANO CONCERTO NO.1 - Riccardo MUTI;Andrei GAVRILOV
Photos: RUSSIA
From Wikipedia, the free encyclopedia
The Piano Concerto No. 1 in B♭ minor, Op. 23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875.[1] It was revised in the summer of 1879 and again in December 1888. The first version received heavy criticism from Nikolai Rubinstein, Tchaikovskys desired pianist. Rubinstein later withdrew his accusations and became a fervent champion of the work. It is one of the most popular of Tchaikovskys compositions and among the best known of all piano concerti.
Structure
The concerto follows the traditional form of three movements:
Allegro non troppo e molto maestoso – Allegro con spirito (B♭ minor – B♭ major)
Andantino semplice – Prestissimo – Tempo I (D♭ major)
Allegro con fuoco – Molto meno mosso – Allegro vivo (B♭ minor – B♭ major) P. TCHAIKOVSKY: PIANO CONCERTO NO.1 - R.MUTI,A.GAVRILOV](https://i.ytimg.com/vi/igimIFGD4FM/mqdefault.jpg)
