Name: Chopin Military Polonaise op 40 no 1 in A major @classicalpianist
Uploaded: 2026-09-18T08:17:00-05:00
Duration: 8 min 17 s
Description: Chopin Military Polonaise op 40 no 1 in A major

Chopin Military Polonaise op 40 no 1 in A major

Anastasia Huppmann 2026-09-18 | Chopin Military Polonaise op 40 no 1 in A major

#Rossini #Figaro #RossiniFigaro #classicalpianomusic #piano #pianistlife #piano

Anastasia Huppmann 2024-01-08 | In 1816, when "#TheBarberOfSeville " first hit the stage, it was booed so badly that #Rossini barricaded himself in his room, almost vowing to never emerge. But, plot twist: the next show was a hit, earning wild applause! Moral of the #story? If you bomb the first time, just give it another shot!

#classicalmusicstory #musicstory #musichistory #piano #classicalpianomusic #pianomusic #pianosolo #pianist #pianistlife #pianista #pianist

#MerryChristmas2023

Anastasia Huppmann 2023-12-25 | Merry Christmas! 🎄🎹✨
As I sit by my #piano, surrounded by the #melodies of joy and the warmth of my two furry companions, I can't help but feel grateful for the music that fills our lives and the love that binds us. This festive season, I'm sending out notes of love, harmony, and cheer to each of you.
May your days be merry, your nights starlit, and your homes resonating with laughter and melodies. Let's cherish these moments, for they compose the symphony of life.
To you, my dearests, thank you for being the #rhythm to my melody. Wishing you a Christmas filled with love, fun, and #paw-some moments! 🐾🎶
With all my heart,
Yours,
Anastasia - Your Classical Concert Pianist & Dog Mom 🎶❤️🐕
#MerryChristmas #PianistLife #DogMom #FestiveMelodies

#pianozombie #pianoworld #pianoworldwide #pianoworks #pianovibes #pianoshorts #pianochristmas #pianistchristmas #pianodogs #classicalpianomusic

Rachmaninoff Moment No 4 Musicaux Op 16 e minor

Anastasia Huppmann 2023-11-04 | About Rachmaninoffs moment musicaux op 16 no 4 played by Anastasia Huppmann

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Welcome to my interpretation of Rachmaninoff's "Moment Musicaux No 4" from his illustrious set, "Six Moments Musicaux" (Op. 16). These pieces, which the great Russian composer Sergei Rachmaninoff crafted between October and December 1896, each uniquely capture the essence of a specific musical era, truly manifesting as concert masterpieces that come alive on a grand stage.

What strikes me about the fourth piece is its semblance to Chopin's Revolutionary étude, especially in the demanding left-hand figures sprinkled throughout. With its whirlwind tempo, labeled Presto (♩= 104), this piece stands out not only as the swiftest, but also as the briefest in its duration from the set. Its structure is a whirlwind, starting off with a powerful fortissimo that unveils a thick texture filled with chromatic sextuplets in the left hand. The melody, which I interpret as having a "hopeless and desperate" essence, is often juxtaposed against replications of the foundational left-hand pattern, creating a captivating dialogue between the two.

Navigating the complexities of this piece demands precision and stamina. Right from the outset, the left hand is stretched with spans reaching up to a tenth interval. The rapid octave shifts just before the sextuplet runs necessitate swift wrists and arm movements, adding to the challenge. The melodies intricately woven by Rachmaninoff serve a dual purpose: they keep both hands actively engaged while subtly veiling the main melody, making it a challenge for the right hand to shine through. Interestingly, out of the entire set, this piece alone bears specific pedal indications by the composer.

As we traverse through the piece, you'll notice moments where the tempo escalates, marked as Più vivo (♩= 112), further thickening the musical texture. Rachmaninoff employs a technique here, shifting the octave in which a theme is played, amplifying its dramatic flair. This crescendos into a riveting coda, marked Prestissimo (♩= 116), culminating in a resonant E minor chord that echoes the bell-like motifs reminiscent of Rachmaninoff's other famed works like his Piano Concerto No. 2 and Prelude in C♯ minor.

Join me on this emotional and technical roller-coaster as I pour my heart and soul into this piece that I adore for its passionate character, deep desperation, and tragic mood. Witness how the large chord spans force me into constant splits, enhancing the drama of this masterpiece. Your company on this journey means the world to me.

#rachmaninoff #piano #classicalmusic

Rachmaninoff moment musicaux op 16 no 3

Anastasia Huppmann 2023-10-21 | About Rachmaninoffs moment musicaux op 16 no 3 played by Anastasia Huppmann

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Conquering Rachmaninoff's Moment Musicaux No. 3: A Pianist's Tale of Passion and Finger Splits"

Step into the world of Sergei Rachmaninoff's iconic "Moment Musicaux No. 3 in B minor, Op. 16". 🎹 This masterpiece, part of Rachmaninoff's "Moments Musicaux" series, captures the heart and essence of the composer's artistry.

Created between 1896 and 1901, the Rachmaninoff Moments Musicaux collection paints a vivid picture of the composer's inner landscape. They encompass his intense emotional depth and the rich harmonies for which he's renowned. Of these, Moment Musicaux No. 3 stands out as a particularly evocative piece. Characterized by its "Andante cantabile" marking, it offers a stark contrast to the more tempestuous compositions in the set.

Lyrical Mastery: Unlike the rapid, virtuosic motifs found in many of his pieces, Moment Musicaux No. 3 is pure melodic beauty. It's a testament to Rachmaninoff's unique gift for crafting melodies that tug at the heartstrings.

- Technical Intricacies: While not flamboyantly virtuosic, this piece has its set of challenges. Pianists are tasked with maintaining a clear, singing line, balancing various musical voices, and delivering emotional depth.

Yet, every rendition carries a personal tale.

For me, delving into Rachmaninoff's Moment Musicaux No. 3 was both a dream and a formidable challenge. As a female pianist with dainty hands, navigating its complexities often meant performing in constant finger splits. Each note became a blend of ardor and sweet pain of the finger splits. But within that dance, there's a testament to the resilience and adaptability of the human spirit and a reminder that music, at its core, is about connection – between the composer, the performer, and the listener.

However, through these challenges emerges a story of perseverance and the human spirit. Rachmaninoff's compositions serve as a reminder of the power of music to create connections—between the composer's intent, the pianist's interpretation, and the listener's experience.

While Rachmaninoff may not have detailed the inspiration behind each of his creations, they undeniably offer both performers and listeners a canvas to devise their individual stories.

Join me in this video as I unravel the magic of Rachmaninoff's Moment Musicaux No. 3 while enjoying the constant finger splits and share my personal journey of living through this classic

#rachmaninoff #classicalmusicfestival #piano

Chopin Etude Op 25 No 12 (Ocean)

Anastasia Huppmann 2023-09-15 | Chopin Etude Op 25 No 12 (Ocean) by Anastasia Huppmann

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Immerse yourself in the profound beauty of Frédéric Chopin’s Etude Op. 25 No. 12 in C minor, affectionately known as the "Ocean Etude" or Chopin’s Etude No. 24. This composition represents the grand finale of his journey through the 10th and 25th opuses, and is acclaimed as one of his most significant piano masterpieces. This special recording unfolds within the historic walls of Café Hawelka, a beloved gathering spot for artists in Vienna's vibrant heart, and is infused with the spirit of the literary giant, Victor Hugo. A heartfelt thank you to guest artist Christian Horvath and the talented team at Stillmotion for their contributions to this project.

The allure of Chopin’s compositions has captivated me since my early days as a pianist. His unique ability to encapsulate raw emotion within the fabric of his music strikes a chord deep within my soul. Among his oeuvre, the "Ocean Etude" stands as a beacon that has guided me through some of life’s most tumultuous moments. A few years ago, I found myself engulfed in a maelstrom of personal challenges, each wave of difficulty threatening to submerge me beneath its weight. In search of solace, I turned to the music that had always been my sanctuary – the compositions of Chopin. The "Ocean Etude" soon became a symbol of my struggle. Its undulating arpeggios, the rhythmic dance between melody and harmony, the surging crescendos – all reflected the internal tempest I was striving to navigate. As the hours of practice transformed into mastery, I discovered a sense of catharsis within the music. It felt as though the notes were guiding me through my own personal odyssey, helping me to chart a course through the rough seas towards a haven of tranquility. This performance is not merely a homage to Chopin’s brilliance, but also a window into my journey towards healing and self-discovery. It is my hope that the music and its underlying narrative will resonate with you, providing a sense of solace and a reminder of the resilience of the human spirit.

The choice of venue for this performance holds special significance as well. Café Hawelka, nestled in the heart of Vienna, has been a sanctuary for artists of all stripes for generations. The air within its hallowed halls is thick with the creative energy of the countless souls who have sought inspiration within its embrace. It was here, amidst the echoes of past artistic endeavors, that I found the perfect backdrop for this performance. The café’s rich history and the indelible mark of Victor Hugo served as a wellspring of inspiration as I endeavored to breathe life into this cherished composition. As the notes filled the room, I could feel the presence of the many artists who had come before me, their spirits mingling with the music in a dance as old as time.

Chopin Etude Op 25 No 12

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Chopin Etude Op 25 No 12

#chopin #chopinnocturne #chopinwaltz #classicalmusic #classicalmusicfestival #pianomusic #pianista #ocean

Rachmaninoff 😈

Anastasia Huppmann 2023-09-01 | ❤️ buymeacoffee.com/anastasiahuppmann ❤️
🤗Welcome to the enchanting world of Sergei #Rachmaninoff's music 🎶 as we explore his "Moments Musicaux, Op.16, No.2". This piece, also known as "Allegretto in e-flat minor", is the second of a set of six solo piano pieces, each showcasing a unique theme and mood, hence the name "Musical Moments" or “Moments Musicaux”. For the whole video you know where to go, don’t you?😉
#pianoworldwide #pianoworld #pianoworks #pianoyoutube #pianovideos #pianovirtuoso #pianovideo #pianotime #pianotok #pianostagram #pianorecital #pianoperformance #pianonight #pianointhedark #pianohub #classicalmusic #classicalmusicfestival #pianomusic #rachmaninoff #rachmaninov #musicalmoments #musicalmoment

Rachmaninoff Moments Musicaux op 16 #2 e flat minor

Anastasia Huppmann 2023-09-01 | Rachmaninoff Moments Musicaux op 16 #2 e flat minor
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Welcome to the enchanting world of Sergei Rachmaninoff's music as we explore his "Moments Musicaux, Op.16, No.2". This piece, also known as "Allegretto in e-flat minor", is the second of a set of six solo piano pieces, each showcasing a unique theme and mood, hence the name "Musical Moments" or “Moments Musicaux”

Composed during the financially challenging period in the fall of 1896, Rachmaninoff was 23 years old, in a hurry, and in need of money. Despite the pressure, he completed all six pieces within two months, from October to December, highlighting his early virtuosity.

This second Musical Moment referred to as a "glittering showpiece", is in the quick tempo allegretto (MM=92). It is 131 measures long, the most of all six pieces, but the second shortest in terms of playing time.

This incredibly virtuoso piece has a quite sexist quality to it:
with a melody interspersed between rapid sextuplet figures (groups of six notes that are usually meant to fit into where you would normally have four notes given the meter), which are placed so incredibly uncomfortably for smaller hands, this piece becomes almost unplayable for the female pianistic world.

Rachmaninoff said, "What I try to do when writing down my music, is to make it say simply and directly that which is in my heart when I am composing." “Simply” was possibly a bit too humble, nevertheless, all those difficulties are surely worth the incredible emotional rollercoaster this masterpiece has to offer.

Immerse yourself in the world of Rachmaninoff's Moments Musicaux, Op.16, No.2, a journey of emotional depth, technical intricacy, and masterful composition. Enjoy the performance!

#rachmaninow #moment #clasicalmusic #pianomusic #pianist #pianista #anastasiahuppmann #musicforthesoul #pianomusiclover #Рахманинов #музыкальныймомент

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Rachmaninoff Moments Musicaux op 16 #2 e flat minor

30 Minutes Best of Beethoven (Finales Edition)

Anastasia Huppmann 2023-08-19 | Welcome to an exquisite exploration of Beethoven’s genius! In this video "30 Minutes Best of Beethoven (Finales Edition)", we delve deep into the climactic conclusions of four of his most iconic sonatas. Each finale tells its own story, a tale of passion, tension, and resolution that only Beethoven could masterfully weave.

🎼 Why These Finales?
Selected with care, these finales represent the epitome of Beethoven’s compositional prowess. From his early sonatas that bear the influence of Haydn and Mozart, to his late sonatas where he shattered classical conventions, these pieces encapsulate the journey of an artist pushing the boundaries of what music can convey.

🎵 What to Listen For:
* The play between tension and resolution, a signature of Beethoven’s style.
* Subtle thematic transformations, where a simple theme evolves and takes on new life.
* The juxtaposition of powerful fortissimos and delicate pianissimos, showcasing Beethoven’s dynamism.

✨ Join the Experience:
As you listen, allow yourself to be transported by the waves of emotion that each piece evokes. Can you feel the struggle, the love, the desperation? Perhaps you'll even find a reflection of Beethoven's own tumultuous life journey within these masterpieces.

🔔 Stay Connected:
If you find this journey as enchanting as I do, please consider subscribing and hitting that notification bell. Dive deeper into the world of classical music with me, as we continue to explore the greats and the hidden gems alike.

Share your thoughts and feelings about these finales in the comments below! Which one moved you the most? And if you have a personal favorite Beethoven finale not featured here, let me know – there’s always room for more Beethoven appreciation.

🎶 "Music is the mediator between the spiritual and the sensual life." - Ludwig van Beethoven 🎶

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#Beethoven #PianoSonatas #ClassicalMusicJourney #pianomusic #bestofbeethoven #beethovensonata #beethovenpianosonata #beethovenpiano #beethoven2023 #moonlightsonata #pianosonata #classicalmusicfestival #classicalmusic #bestclassical #classicalmusicpiano #classicalmusiccollection #sonata #sonatas #pianist #pianista #pianiste #pianistsofyoutube #pianomusic #piano #pianofestival #pianosolo #pianoplayer #pianoeasy #pianoforte #pianohits #pianoinstrumental #pianojourney #pianoklasik #pianolovers #pianoplaying #pianosolo #pianoworship #pianoyamaha

Chopin - Nocturne Op. 55 No. 1

Anastasia Huppmann 2023-07-29 | Chopin - Nocturne Op. 55 No. 1

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The duo of solo piano nocturnes, Op. 55, are among the musical creations of the renowned Frédéric Chopin. As the fifteenth and sixteenth entries into this category, they were born out of Chopin's artistic endeavors during 1842-1844, and saw their public unveiling in August 1844. His protégé and enthusiast, Mademoiselle Jane Stirling, was honored with their dedication.

The haunting melody of the Nocturne in F minor can be found within the fabric of the 1997 cinematic work, The Peacemaker (with George Clooney and Nicole Kidman in lead roles). The primary antagonist (portrayed by Marcel Iureş as Dusan Gavrich), a music mentor by profession, instructs a young learner on comprehending and expressing the subtleties of the composition, followed by a demonstration on the piano. The piece gradually evolves from a single piano rendition to a symphonic ensemble.

The track "For the Damaged Coda" by Blonde Redhead finds its roots in the F minor nocturne, and has been integrated into the animated series Rick and Morty.

The promotional trailer for The Witcher 2: Assassins of Kings is infused with the melodies of Nocturnes, Op. 55. #witcher2

The final mission in Cyberpunk 2077, bearing the title Nocturne Op 55 No 1, commences with a performance by Hanako Arasaka.

With an extraordinary push against her shyness, Elizavieta Cheriemietieft sought Chopin's tutelage as a replacement for Marie de Krudner, who was departing Paris. From December 16, 1842, to January 20, 1843, she was under his instruction for twelve sessions (initially two, later three hours each week) in the afternoon at his residence. As with Krudner's lessons, these concluded with Chopin gracing the piano with his Mazurkas, Nocturnes, and other compositions:

'Chopin's interpretation of his Valse mélancolique [op. 34/2? 69/2? 70/231], and his études are celestial, ethereal: his music evokes images of heavenly beings' (Journal, November 17, 1842).
Besides practicing pieces by Clementi and various exercises, Cheriemietieft worked on a Beethoven sonata, and Chopin's Waltzes, Nocturnes, and Preludes. On the date marked December 8, 1842, Chopin inscribed the first sixteen measures of the upcoming Nocturne op. 55/I, here presented in F# minor and labeled Andante, into the young girl's music book. This autograph now resides in the Central Archives for Literature and Art in Moscow, alongside Anna and Elizavieta's journals and some family letters. Extracts from these documents (originally in French) are available in Russian in Niesmievanova-Siemienovski and Siemienovski. The snippets from Elizavieta's Journal used here have been sourced from the yet unpublished original.

From 1842 onward, the shadow of grave illness began to fall on Chopin. Following a solo concert in Paris on February 21, 1842, he conveyed to Grzymała: "I'm confined to my bed all day, my mouth and tonsils are causing great discomfort."His ill health compelled him to decline Alkan's formal invitation to be a part of the re-performance of Beethoven's 7th Symphony at Érard's on March 1, 1843. Late in 1844, when Charles Hallé paid a visit to Chopin, he found him in a state of extreme discomfort, "barely able to stir, bent over like a semi-folded pocket knife, clearly in severe pain", although the sight of the piano revived his spirits. Chopin's physical condition steadily worsened from this point. Contemporary studies indicate that in addition to his other health issues, he might have been afflicted by temporal lobe epilepsy.

Over this period, Chopin's musical production began to recede, with fewer compositions each year.

Chopin Nocturnes Premiere

Anastasia Huppmann 2023-07-29 | Premiere starting soon #chopin

#stories about the #greatest #composers

Anastasia Huppmann 2023-07-24 | #tchaikovsky #rachmaninov #rachmaninoff #rachmaninow #pianofestival #classicalmusicfestival #pianomusic #composers #pianist

#Figaro #lady edition

Anastasia Huppmann 2023-07-22 | Largo al Factotum/#Figaro from ( The #Barber of #Seville) by #Rossini @BoesendorferOfficial #thebarberofseville #largoalfactotum #pianomusic #classicalmusicfestival #classicalpiano #pianist #dailypiano #bestpiano #bestpianomusic #funnypiano #funnymusic

#chopin #chopinetude #chopinetudes

Anastasia Huppmann 2023-07-20 | ...

#stories about #thegreatest #composers #chopin

Anastasia Huppmann 2023-07-17 | The whole video is here:
youtu.be/VNWJod8wFZg

#pianomusic #classicalmusicfestival #classicalpiano #composer #chopinetude #chopinpiano

#piano #chopinetude

Anastasia Huppmann 2023-07-16 | Here is the whole video: youtu.be/VNWJod8wFZg

#pianomusic #chopin #chopinetude #etude #bees #chopinbees #classicalmusicfestival

Chopin - Etude Op. 25 No. 2 in F minor The Bees

Anastasia Huppmann 2023-07-15 | Frederic Chopin Etude Op. 25 No. 2 in F minor (Bees) played by Anastasia Huppmann in Vienna, Austria.

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Even though marked Presto, this Frederic Chopin´s Etude Op. 25 No. 2 in F minor is one of the softer, more lyrical Chopin etudes, with the right hand playing quiet eighth note triplets throughout. Like the Revolutionary Etude, the notes are not difficult as long as the proper fingering is learned; the primary difficulty here is the polyrhythm. The right hand, being in triplets, will naturally have its accents on every third or every sixth note. The left hand, however, does not play one note for every three the right hand plays. Rather, it is in quarter note triplets – it plays one note for every two notes in the right hand. This is similar to the situation found before the G minor arpeggios and introduction of the second theme in Chopin’s Ballade No. 1. Thus, a polyrhythm is established, and it is precisely this polyrhythm that makes this piece so difficult. Perfecting the right hand by itself is easy, and perfecting the left hand by itself is even easier. The problem lies in putting the two hands together!

Chopin Etude Op 25 No 2 F Minor wird gespielt von Anastasia Huppmann im Wiener Kempinski Hotel. Etude Op. 25 No. 2 in F minor/ Etüde Op. 25 Nr. 2 f-Moll von Frederic Chopin ist eine der weicheren, lyrischen Chopin-Etüden, die mit ihrer edlen Eleganz Pianisten und deren Zuhörer Jahrhunderte lang begeistert hat. Und heute noch begeistert. Die Idee des Videos wurde durch das Zitat: “The one thing we can never get enough of is love. And the one thing we never give enough of is love”, von Henry Miller inspiriert

Фредерик Шопен этюд опус 25 номер 2 фа минор.

#Rachmaninoff or #Rachmaninov ? That’s the question 🤓

Anastasia Huppmann 2023-07-01 | Born into a #musical family, #Rachmaninoff began learning the #piano extremely early, at the age of four. 🙈 I started with 5 🫨. And you? When was your start? And when did you first see a #piano or listen to #pianomusic ?

Rachmaninoff: Moment Musicaux, Op.16 No.1

Anastasia Huppmann 2023-07-01 | Rachmaninoff: Moment Musicaux, Op.16 No.1

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Welcome to the enchanting world of Sergei Rachmaninoff's music as we explore his "Moments Musicaux, Op.16, No.1". This piece, also known as "Andantino", is the first of a set of six solo piano pieces, each showcasing a unique theme and mood, hence the name "Musical Moments".

Composed during the financially challenging period in the fall of 1896, Rachmaninoff was 23 years old, in a hurry, and in need of money. Despite the pressure, he completed all six pieces within two months, from October to December, highlighting his early virtuosity1.

The "Andantino" distinguishes itself as the longest in the set by playing time, around eight and a half minutes, and stands alone with its unique difficulties, featuring multiple phrases in a single hand. It showcases Rachmaninoff's trademark elements – a chromatic, syncopated, and long melody, reminiscent of his earlier work, the Nocturne in A minor from the Morceaux de Salon set (Op. 10, No. 1, 1894)1.

The piece is divided into three distinct sections, each marked with different tempos. The first section presents a theme in common time (4/4) with a typical nocturne figure for the left hand. The second part, marked "con moto" (with motion), offers a variation of the theme in the unusual configuration of seven quarter notes per measure (7/4), ending in a cadenza. The third section presents the last variation of the theme, again in common time, but with the fastest tempo yet, "Andantino con moto"1.

Above all, this piece, like all of Rachmaninoff's works, is an honest reflection of his heart. As the composer himself said in 1941, "What I try to do, when writing down my music, is to make it say simply and directly that which is in my heart when I am composing"1.

Immerse yourself in the world of Rachmaninoff's Moments Musicaux, Op.16, No.1, a journey of emotional depth, technical intricacy, and masterful composition. Enjoy the performance!

#pianomusic #classicalpiano #pianist #classicalmusicfestival #rachmaninov #rachmaninoff #Рахманинов #музыкальныймомент

#Rachmaninov , #Rachmaninoff or #Rachmaninow ? 🤔Originally, #Рахманинов , but who can read this? 😁

Anastasia Huppmann 2023-07-01 | ...

#Rachmaninov , #Rachmaninoff or #Rachmaninow ? Originally, #Рахманинов , but who can read this? 😁

Anastasia Huppmann 2023-07-01 | Today’s premiere! 🥳 #rachmaninov #momentmusicaux No. 1 💪🏻
#pianomusic #piano #classicalmusicfestival #pianofestival #classicalpiano #rachmaninow #moments #рахманинов

#Stories about the #greatest #composers and #pianists

Anastasia Huppmann 2023-06-18 | #Stories about the #greatest #composers

The whole video is here:
Frederic Chopin Nocturne No 6 Op 15 No 3 in G minor
youtu.be/LzJjta82vuQ

#pianist #pianomusic #chopin #classicalpiano #chopinpiano #classicalmusicfestival #chopinnocturne #classicalpianomusic #nocturne #nocturnes #chopinnocturnes

Stories about the #greatest #composers and #pianists

Frederic Chopin Nocturne No 6 Op 15 No 3 in G minor

Anastasia Huppmann 2023-06-17 | Frederic Chopin Nocturne No 6 Op 15 No 3 in G minor

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Composed by Frederic Chopin, the Nocturnes introduce bold new harmonic ideas that have impacted subsequent generations of composers. Chopin's Nocturnes contrast "an idyll of sounds, bright, delicate, and pleasant, illumined by the sun" with "a tempest that erupts suddenly with violence and brute force," as described by German musicologist Hugo Leichtentritt (1874-1951).

According to Franz Liszt, "Chopin, in his poetic Nocturnes, sang not only the harmonies which are the source of our most ineffable delights, but likewise the restless, agitating bewilderment to which they often give rise."
Chopin´s Nocturnes develop wordlessly like bel canto arias, with the piano taking on the role of a vocal instrument.

Paris was where Chopin wrote Nocturne No. 3, Opus 15 between 1832 and 1833. After seeing Hamlet performed the night before, Chopin wrote this nocturne and gave it the title "At the cemetery," but he afterwards deleted the inscription, saying, "Let them figure it out for themselves.“

This nocturne stands out from the other two in the series because to its exceptional beauty and sophistication. Honoring the German composer Ferdinan Hiller.

In general, the idea of a nocturne as a genre is to portray the nighttime, and this wonderful nocturne portrays elements of mystery and tense characteristics with the use of contrasting dynamics. Besides that, this masterpiece creates a feeling of an improvisation, as if telling the saddest history of your life to your closest friend.

Despite beginning in G minor, Frederic Chopin quickly and creatively moves away from the home key and reaches the non-related keys such as F# sharp major (in the development section). The religious section (marked as „Religioso“) is absolutely heaven-like, written as a church choral reminiscence.

#chopin #chopinpiano #pianomusic #classicalpiano #pianist #chopinnocturne #classicalmusicfestival

#stories about the greatest #composers and #pianists 🤩 🎹

Anastasia Huppmann 2023-06-17 | Do you like reading interesting stories about the great composers? 🧐 📖
Let me know your thoughts 💭

The whole video is here: Frederic Chopin Nocturne No 6 Op 15 No 3 in G minor
youtu.be/LzJjta82vuQ

#pianomusic #pianist #chopin #chopinnocturne #chopinpiano #fredericchopin #romanticpiano #romanticpianomusic #calmmusic #calmingmusic #relaxingmusic #relaxingsounds

#Stories about the greatest #composers and #pianists 🎶📖

Anastasia Huppmann 2023-06-17 | Do you like reading interesting stories about great #composers and #pianists? 🧐 📖
Let me know your thoughts 💭

The whole video is here: Frederic Chopin Nocturne No 6 Op 15 No 3 in G minor
youtu.be/LzJjta82vuQ

#pianomusic #pianist #chopin #chopinnocturne #chopinpiano #fredericchopin #romanticpiano #romanticpianomusic #calmmusic #calmingmusic #relaxingmusic #relaxingsounds

#Funnystories about the #greatest #composers and #pianists 🤩

Anastasia Huppmann 2023-06-17 | A few #funnystories about the greatest #composers and #pianists 🤩

The whole video is here: Frederic Chopin Nocturne No 6 Op 15 No 3 in G minor
youtu.be/LzJjta82vuQ

#chopin #chopinnocturne #chopinpiano #piano #classicalpianomusic #classicalpiano #pianists #chopinfestival #шопен

Everyday’s to-do list for your #mentalhealth🫶🏻

Anastasia Huppmann 2023-05-06 | Everyday’s to-do list for your #mentalhealth🫶🏻
What else would you add personally for you? 🤔

The whole video is here: Liszt Hungarian Rhapsody No 2
youtu.be/_S7Jq8FJ9d0

#piano #pianist #hungarianrhapsody #liszt #lisztpiano #lisztpiano #classicalmusicfestival #classicalpianist #classicalpiano #classicalpianomusic #classicalpianocovers

We are celebrating 🥳 today our channel’s anniversary!🤩

Anastasia Huppmann 2023-05-06 | Our YouTube Channel is 10 years young! Absolutely unimaginable 🫣🤩🎶🎹 Join us! 🤗

The whole video is here :
Liszt Hungarian Rhapsody No 2
youtu.be/_S7Jq8FJ9d0

#liszt #hungarianrhapsody #rhapsody #lisztrhapsody #classicalmusic #classicalpiano #lisztpiano #pianomusic #virtuosityplays #virtuoso #concertpianist #classicalmusicfestival

Liszt Hungarian Rhapsody No 2

Anastasia Huppmann 2023-05-06 | I just can’t imagine that it’s already been 10 years since this very first video on my YouTube channel went online. 🫣

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Title: My Journey to Mastering the Hungarian Rhapsody: Overcoming Doubt and Defying the Odds

Intro:
Sometimes, the most powerful source of inspiration comes from the most unexpected places. For me, it was a Tom and Jerry cartoon that introduced me to the captivating Second Hungarian Rhapsody by Franz Liszt. Little did I know that at the age of 5, I would set my heart on learning this complex piano piece, and in doing so, would defy all expectations and become a Grand Prix and the title „the most promising piano prodigy“.

The Challenge:
When I finally decided to learn the Hungarian Rhapsody no.2 by Franz Liszt at 9 years old, I was met with skepticism from nearly every teacher I encountered. They told me it was too difficult, my hands were too small, I was too young, and that it wasn't the right piece for a girl. These discouraging words might have broken someone else's spirit, but I was determined to prove them wrong. I knew in my heart that following my passion and staying true to myself was the only way to achieve my dream.

Finding Support:
Thankfully, my professor recognized my dedication and decided to support my efforts, stating that they hadn't seen anyone so young attempting such a difficult piece. She knew I would continue on this journey with or without her guidance, so she made sure to help me practice without injuring my hands. This was a turning point for me, as her belief in my abilities gave me the confidence I needed to succeed.

The Triumph:
After months of rigorous practice, I entered and, to my absolute astonishment, won the grand prize in a piano prodigy competition, despite the incredible talents of my fellow participants. My dream of mastering the Hungarian Rhapsody had come true, and in the process, I discovered that hard work and dedication can lead to rapid progress and invaluable learning experiences.

The Unexpected Apology:
In a surprising twist, one of the professors who initially doubted me approached me to congratulate me on my success and apologize for his earlier skepticism. This moment was a powerful reminder that even when others doubt us, we must believe in ourselves and stay true to our passions.

Conclusion:
My journey to mastering the Second Hungarian Rhapsody by Franz Liszt was a testament to the power of perseverance and self-belief. No matter the obstacles or the naysayers, it's essential to follow your heart and stay true to your dreams. Remember, with hard work, dedication, and the support of those who believe in you, anything is possible.

#pianomusic #classicalpiano #pianist #pianist #classicalmusicfestival #classicalpianomusic #lisztpiano #liszt #lisztrhapsody #hungarianrhapsody #lisztfestival

Just a regular Monday‘s morning🤦🏼‍♀️

Anastasia Huppmann 2023-05-01 | The whole video is here:

youtu.be/TZPb4G0ABAM

#piano #classicalmusic #pianist #pianists #figaro #funnyshorts #funnystories #funnyvideo #rossini #barbieri #barbiere #pianomusic #funnypiano #classicalmusicfestival

Andante Spianato and Grande Polonaise Brillante, Op. 22: Unveiling Chopins Piano Masterpieces

Anastasia Huppmann 2023-04-08 | Andante Spianato and Grande Polonaise Brillante, Op. 22: Unveiling Chopin's Piano Masterpieces

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Chopin's Masterworks for the Piano: Revealing the Andante Spianato and Grande Polonaise Brillante, Op. 22.

The Andante Spianato and Grande Polonaise Brillante showcase the composer's unparalleled ingenuity and virtuosity. Discover the mesmerizing harmonies and intricate artistry of Chopin's piano masterworks as we delve into the essence of his distinctive musical language.

Explore the realms of Chopin's music as I reveal the enthralling tale of how I recorded the enchanting Andante Spianato and Grande Polonaise Brillant.

In a world where music had the power to transcend time, I set out on a mission to unearth Frédéric Chopin's legacy's hidden gems. I set sail across the vast ocean of sound, navigating through uncharted waters and melodic currents as I was guided by the mysterious echoes of an ancient melody.

A swirling vortex of notes enveloped me during a stormy night, transporting me to a bygone era. I walked the cobblestone streets of Warsaw, where the melodies of Chopin's youth reverberated in the air, while surrounded by the ambiance of the nineteenth century.

As I meandered through the city, I discovered an abandoned manor that was the birthplace of Chopin's forgotten masterpieces, the Andante Spianato and Grande Polonaise Brillante. The piano in the stately ballroom of the manor was covered in cobwebs, its strings straining to play again.
I began playing the masterpiece in a moment of inspiration, its ethereal tones resonating through the empty corridors. As the final note persisted in the air, an apparition of Chopin himself materialized before me.
I returned to the present with the lost knowledge of the Andante Spianato and Grande Polonaise Brillante, overcome by the immensity of my discovery. I recorded the mesmerizing piece with unwavering determination, sharing its entrancing story with the world.

Chopin's Andante Spianato and Grande Polonaise Brillante, Op. 22, is a masterwork that combines two distinct musical forms into a dazzling composition. The piece demonstrates Chopin's virtuosity, lyricism, and his distinct ability to combine Polish nationalism and Romantic era elegance.
The composition of the piece consumed his final months in Poland prior to his departure for Vienna. There, in this famous city of music, he completed it. A few years later, in 1834, the Andante spianato introduction for solo piano was added to produce a more expansive and cohesive work. In 1836, the final version was published, with both sections performed simultaneously.

The composition consists of two contrasting sections, with the lyrical, placid, and tranquil Andante Spianato serving as an introduction to the lively and virtuosic Grande Polonaise Brillante. Composed in G Major, the Andante Spianato is distinguished by its mellow, flowing melody and subtle ornamentation. This was the only occasion Chopin ever used the term "spianato" to describe any of his works. The lyrical and tranquil Andante Spianato exemplifies Chopin's ability to compose gentle, flowing melodies that elicit a sense of serene beauty. This entrancing piece is the ideal prelude to the lively and virtuosic Grande Polonaise, which captivates listeners with its bold chords, sweeping arpeggios, and brilliant fingerwork. Composed in E-flat Major, the Grande Polonaise Brillante is an energizing and scintillating display of pianistic skill, featuring bold chords, sweeping arpeggios, and intricate fingerwork.

Chopin included the polonaise's characteristic cadence and grandeur in the Grande Polonaise Brillante. The polonaise is a Polish dance in triple meter. Chopin celebrated his Polish heritage through his compositions, including this one, which helped popularize the polonaise as a musical genre. In actuality, Andante spianato and Grand Polonaise in E-flat major is Chopin's last brilliant composition of concertizing music. Chopin's Grande Polonaise, which was inspired by the regal Polish dance, exemplifies the composer's proud heritage. His Polonaise compositions have captivated audiences for generations with their sense of grandeur and elegance.

The Andante Spianato and Grande Polonaise Brillante is one of Chopin's most popular and frequently performed compositions, cherished for its entrancing melodies and technical virtuosity.

Indulge in the delectable sounds of Andante Spianato and Grande Polonaise Brillante by Chopin to experience the enchantment of his piano music. This hypnotic excursion into the world of Chopin's piano compositions will leave you spellbound, displaying the timeless allure of his captivating melodies and unmatched virtuosity.

#classicalmusic #piano #chopin #polonaise #andantepiano #andantespianato #grandepolonaise #chopinpiano #chopincompetition #pianosolo

🤩The first right answer wins! 🤩Chop chop, the new video is almost ready!🤩

Anastasia Huppmann 2023-04-01 | Hint of the day: this piece is by Frédéric Chopin and previously has never been recorded by me😃

The whole video is here:
Andante Spianato and Grande Polonaise Brillante, Op. 22: Unveiling Chopin's Piano Masterpieces
youtu.be/cO2l6mApGuc

This challenge has already been won 🏆 - check out my Instagram page to see the results instagram.com/anastasia_huppmann

More challenges to come, stay tuned! 🤗

#chopin #fantasieimpromptu #pianomusic #chopinpiano #chopinfantasie #classicalpiano #classicalpianomusic #win #winner #playandwin #classicalmusicfestival #classicalmusicians #classicalmusicpiano

Rachmaninoff Etude Tableau Op 39 No 5 by Anastasia Huppmann

Anastasia Huppmann 2023-01-27 | Rachmaninoff Etude Tableau Op 39 No 5 by Anastasia Huppmann

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The Études-Tableaux Op. 39 is the second opus of piano etudes composed by Sergei Rachmaninoff.

The Opus 39 includes nine études, this, an absolutely extraordinary one, humbly marked as opus 39, number 5 in e-flat minor, is the dramatic peak of both the Op. 33 and Op. 39 sets. Sergei Rachmaninoff composed his Études-Tableaux Op. 39 between 1916 and 1917, during a period of intense study of the works of his friend Alexander Scriabin, who tragically died in 1915.

The études-tableaux Op. 39 are the last works written by Rachmaninoff before he fled Russia with his family to escape the turmoil of the Russian Revolution.

The Étude-Tableau Op. 39 No. 5 in e-flat minor is the most difficult and dramatic of all Rachmaninoff’s études. It’s explosive character is passionate, tumultuous, despairing and somber. This étude combines the darkest dramatical pathetic and the highest heroism with the deepest possible lyricism. Not only this wide diapason of spirit, but also the enormously rich palette of intensity and nuance transcend each listening soul with a spacious range of emotional colours.

Because of its difficulty in both, harmonic language and pianistic technique, please be patient and let this tough, but fragile étude-tableaux Op. 39 No. 5 embrace your soul.

#rachmaninoff #rachmaninov #rachmanartis #pianist #pianistas #horowitz #anastasiahuppmann #pianomusic #pianosolo #classicalmusic #music #musica #etude #étude #рахманинов #этюд #ラフマニノフ #라흐마니노프

Johann Strauss II - The Blue Danube Waltz

Anastasia Huppmann 2022-12-02 | Johann Strauss II - The Blue Danube Waltz

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An der schönen blauen Donau op. 314 was originally titled On the Beautiful Blue Danube and was written as a waltz by Johann Strauss II in the year 1867. The usual English title of this piece is The Blue Danube. Since its first performance on February 9, 1867 at a concert hosted by the Wiener Männergesangsverein (Vienna Men's Choral Association), this piece of music has gone on to become one of the most popular works in the classical repertoire. It is believed that Strauss stated something along the lines of "The devil take the waltz, my only sorrow is for the coda — I wish it had been a success!" after the first performance of the piece was only a moderate success.

The song lyric that was initially intended to accompany the waltz was composed by Josef Weyl. In the same year, Strauss converted it into a version that was performed only by an orchestra at the World's Fair that was held in Paris, and it was a huge hit in this form. The instrumental version is by far the one that is played the most often in modern times. On occasion, Donau so blau, another phrase written by Franz von Gernerth, is also used. Donau so blau translates to "Danube, so blue."

The tune is now considered something of an unofficial national anthem for Austria due to the nostalgic Viennese undertones that it has. The encore performance of this piece at the annual Vienna New Year's Concert is a tradition. The first few bars are also used as the interval signal for programs broadcast outside of Austria by Österreich Rundfunk.

It was reported by another composer, Norman Lloyd, in his "Golden Encyclopedia of Music," that when Frau Strauss asked Johannes Brahms for an autograph, Brahms responded by writing the first few bars of "Blue Danube" on a fan that Mrs. Strauss had given him. Mrs. Strauss kept the fan as a memento of their encounter. Unfortunately, it was not composed by Johannes Brahms, as he had written below it.

This is an amazing transcription by Jakob Gimpel, born in Lviv, now Ukraine 🇺🇦 Unfortunately, despite its incredible virtuosity, beautiful tenderness of the slow sections, brilliant elegance and genial brevity, this transcription is extremely rare to be heard.

Jakob Gimpel was a Polish concert pianist and instructor. He was born on April 16, 1906, and passed away on March 12, 1989. Gimpel started his studies on the piano with his father, Adolph, and then went on to study the instrument with Cornelia Tarnowska, Eduard Steuermann, and Alban Berg. Gimpel also studied music theory with Alban Berg. In 1923, Gimpel had his debut with the Concertgebouw Orchestra, which was led by Pierre Monteux. His debut took place in Vienna, Austria. He performed Rachmaninoff's second piano concerto for the audience.

Gimpel embarked on a tour with violinists Bronisaw Huberman, Erika Morini, Nathan Milstein, and Gimpel's brother, Bronislav Gimpel. In 1937, Gimpel assisted Huberman in establishing what would later become the Israel Philharmonic Orchestra (then known as the Palestine Symphony Orchestra). In 1938, Gimpel made his way to New York City, and a few years later, he relocated to Los Angeles.

Recorded appearances by Gimpel may be found in movies such as Gaslight, Possessed, Letter from an Unknown Woman, Strange Fascination, The Story of Three Loves, Planet of the Apes, and The Mephisto Waltz, amongst others. Gimpel's cinematic credits are extensive. Gimpel also provided the music for two of the most iconic cartoons of all time, namely Rhapsody Rabbit and the Tom and Jerry short Johann Mouse, which won an Academy Award.

Gimpel was one of the first European-American musicians to return to Europe after World War II, and he gave hundreds of performances in West Germany in the year 1954. He was also one of the first European-American artists to return to the United States. Between the years 1971 and 1986, Gimpel held the position of professor in residence at California State University, Northridge. In 1975, he was presented with the Ben-Gurion Award from the State of Israel, and in 1975, the West German Order of Merit, First Class, was bestowed upon him.

#bluedanube #waltz #strauss
#bluedanubewaltz #bluedanubewaltzdance
#andrerieubluedanubewaltzdance
#johannstraussii-thebluedanubewaltzdance
#bluedanubewaltzpiano
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#bluedanubewaltzshortversion
#bluedanubewaltzviennaphilharmonic

Rachmaninoff, Moment Musical Op. 16, No. 6 - Anastasia Huppmann

Anastasia Huppmann 2022-11-11 | Rachmaninoff Moment No 6 by Anastasia Huppmann

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In an interview in 1941, Rachmaninoff said, "What I try to do, when writing Rachmaninoff Moment No 6 down my music, is to make it say simply and directly that which is in my heart when I am composing." Even though Moments musicaux were written because he was short of money, the pieces summarize his knowledge of piano composition up to that point. Andantino opens the set with a long, reflective melody that develops into a rapid climax. The second piece, Allegretto, is the first of the few in the set that reveal his mastery of piano technique. Andante cantabile is a contrast to its two surrounding pieces, explicitly named "funeral march" and "lament." Presto draws inspiration from several sources, including the Preludes of Frédéric Chopin, to synthesize an explosion of melodic intensity. The fifth, Adagio sostenuto is a respite in barcarolle form, before the finale Maestoso, which closes the set in a thick three-part texture.

Background of Rachmaninoff Moment No 6
By the fall of 1896, 23-year old Rachmaninoff's financial status was precarious, not helped by his being robbed of money on an earlier train trip. Pressed for time, both financially and by those expecting a symphony, he "rushed into production." On December 7, he wrote to Aleksandr Zatayevich, a Russian composer he had met before he had composed the work, saying, "I hurry in order to get money I need by a certain date ... This perpetual financial pressure is, on the one hand, quite beneficial ... by the 20th of this month I have to write six piano pieces." Rachmaninoff completed all six during October and December 1896, and dedicated all to Zatayevich. Despite the hasty circumstances, the work evidences his early virtuosity, and sets an example for the quality of his future works.

Six moments musicaux is a sophisticated work that is of longer duration, thicker textures, and greater virtuosic demands on the performer than any of Rachmaninoff's previous solo piano works. It is similar to Alexander Scriabin's momentous Étude in D♯ minor (Op. 8, No. 12)—in both compositions, detail is more functional than ornamentative in their musical argument. It is here, rather than in Morceaux de fantaisie (Op. 3, 1892) or Morceaux de salon (Op. 10, 1894), that Rachmaninoff places specific qualities of his own playing into his music. There is passionate lyricism in numbers three and Rachmaninoff Moment No 6, but the others require a pianist with virtuoso technique and musical perception. These were composed during the middle of Rachmaninoff's career, and created a foundation of inner voices that he would elaborate on in his Preludes (Op. 23) and Études-Tableaux (Op. 33). Although he usually gave the première of his own piano works, he was not the first to perform these, and the date of the first public performance has not yet been determined.

6. Maestoso, C major (Rachmaninoff Moment No 6)

The last piece in the set is a quintessential nineteenth-century work, and has been described as an "apotheosis or completion of struggle." It appears to be inspired by the texture in the Präludium from Schumann's Bunte Blätter. The piece was once summarized as:

Rachmaninoff Moment No 6

The final Rachmaninoff Moment No 6 piece or movement of a cycle that is virtuosic and brilliant, employing the entire range of dynamics and sonorities available to the piano, bringing a set of pieces to a glorious conclusion.

This "stormy, agitated" (Rachmaninoff Moment No 6) work contains a "vehemently triple-dotted main theme and only some brief midsection hazy sunshine [that lightens] the storm before fortississimo thunders return and finally dominate." Despite the dark imagery presented to describe the piece, the work is in C major, and the end result is more light-hearted than dark, but not as triumphal as the Maestoso would make it sound.

Like the second and fourth pieces, Rachmaninoff Moment No 6 is written in the form of an étude, with a repetitive but technically challenging chordal melody that is doubled in both hands.

Rachmaninoff Moment No 6 is one of the most difficult pieces in the set. Stamina and strength are required to sustain a full resonant sound, while the continuous thirty-second figure can be tiring for the pianist. Consistent tempo from Rachmaninoff Moment No 6 is a problem for this piece, due to the melody being interspersed with two other elements. Additionally, the dynamics, mostly "loud" and "very loud," indicate that an accurate vision of relative volume is necessary. Maintaining this accuracy while managing every other element of the piece and successfully presenting a musically solid performance continues to be the ultimate challenge of all.

Claude Debussy : Feux dartifice (Anastasia Huppmann)

Anastasia Huppmann 2022-10-20 | Claude Debussy : Feux d'artifice

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Debussy's cycle of twenty-four preludes for piano at the end of his career (1910-1913) essentially completed the development of the genre in Western European music, the most significant phenomenon of which were the preludes by Bach and Chopin. Debussy´s 24 preludes for piano occupy a special place in the composer's oeuvre. Rich in expression, varied in difficulty, these preludes sum up a style that revolutionised the musical language of the whole XXth century and represent a new writing style that ended III centuries of functional harmony.

Each prelude has a programme title, stated only at the end of the piece."To name an object is to kill three-quarters of the pleasure of the poem; to suggest its image is the dream". /Stéphane Mallarmé/ Poet of sound and wizard of freedom, Debussy set music on a new course:“There is no theory: it is enough to hear. Pleasure is the rule". According to Jean et Brigitte Massin, Debussy is a 'pioneer of contemporary art, he refuses to adopt a pre-existing form for his work, and seeks a form of writing that escapes to the tyranny of the tonal…´ Debussy aims more at exploiting the variety of colours and richness of sound possible in each of the musical motifs. As his incredible genius humbly said: “I have been called „revolutionary“, but I have not invented anything. At most, I have presented old things in a new way. There is nothing new in art. My musical sequences, which are so widely discussed, are not inventions. I have heard them all before. Not in churches. In myself. Music is everywhere. It is not locked up in books”. The composer hoped to be working on things that will only be understood by the grandchildren of the 20th century. „Only they will see that "clothes do not make the musician". What is your opinion on this point? Have we, as humankind, ever improved so greatly to meet his demanding expectations? Write your thoughts in the comments below.

He went further: “The best thing one could wish for French music is: to see the abolition of the study of harmony as it is practised in school, which is the most solemnly ridiculous way of assembling sounds. It has, moreover, the serious defect of unifying to such an extent that all musicians, with a few exceptions, harmonise in the same way.”

And just like that, his preludes for piano represent a unique opportunity to understand the new writing that ended three centuries of functional harmony. Yet this enormous breakthrough was not enough for his unstoppable talent: "I am becoming more and more convinced that music is not, in its essence, something that can be cast in a rigorous and traditional form. It is of colours and rhythms.”

Debussy's music is full of complex contrapuntal textures, written on three instead of typically two staves, furthermore, with two to three different sonorities at once with the same hand. Besides that, the improvised nature of Debussy´s preludes adds another interpretive difficulty: rubato, that legacy of Romanticism.

“It was also here that he was best able to free the melodic phrase from the tyranny of the bar line” /Harry Halbreich/

The stunning virtuosity of the passages in Fireworks (originally „Feux d´artifice) is wholly subservient to the pictorial task of creating the illusion of an aerial space illuminated by flashes of artificial lights. A little hint for motivated pianist: Feux d`artifice is classified as a the highest level 9 work by Henle, be ready to sweat a little;-) But the game is worth the candle, isn`t it?

With that combination of Debussy composition and Huppmann genius, Feux d’artifice seemed the natural place to start Anastasia’s NFT collection.

Chopin funeral march | Trauermarsch | In memorial to terror attack vienna 02.11.20

Anastasia Huppmann 2020-11-04 | Chopin funeral march | Trauermarsch | Frederic Chopin Piano Sonata No. 2 in B-flat minor, Op. 35, Part 3: Marche funèbre: Lento

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Please be kind with the piano tuning: in times of the COVID-19 pandemic, the second lockdown and the terror attack on 02.11.2020 it is not easy to get a piano tuner...

German: „Im Gedenken an die Opfer des Terroranschlages am 02.11.2020 in meiner wunderschönen Heimatstadt Wien“

„In memorial to the victims of the terror attack on 02.11.2020 in my beautiful home town Vienna“

Frédéric Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, is a piano sonata in four movements. Chopin completed the work while living in George Sand's manor in Nohant, some south of Paris, a year before it was published in 1840. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by Bach and by Beethoven; Beethoven's twelfth piano sonata also has a funeral march as its third movement.

The compositional origins of the Piano Sonata No. 2, the first mature piano sonata Chopin wrote,are centred on its third movement (Marche funèbre), a funeral march which many scholars indicate was written in 1837. However, Jeffrey Kallberg believes that such indications are because of an autograph manuscript of eight bars of music in D-flat major marked Lento cantabile, apparently written as a gift to an unnamed recipient. The manuscript, which is dated 28 November 1837, would later become part of the trio of the Marche funèbre. However, Kallberg suggests this manuscript may have been intended as the beginning of an earlier attempt of a different slow movement instead of being part of the Marche funèbre, writing that "it would have been unusual for Chopin to make a gift of a manuscript that, if it did not contain an entire piece, did not at least quote the beginning of it", as almost all of his other presentation manuscripts did.

Some time after writing the Marche funèbre, Chopin composed the other movements, completing the entire sonata by 1839. In a letter on 8 August 1839, addressed to Fontana, Chopin wrote:
I am writing here a Sonata in B flat minor which will contain my March which you already know. There is an Allegro, then a Scherzo in E flat minor, the March and a short Finale about three pages of my manuscript-paper. The left hand and the right hand gossip in unison after the March. ... My father has written to say that my old sonata (in C minor, Op. 4) has been published by and that the German critics praise it. Including the ones in your hands I now have six manuscripts. I'll see the publishers damned before they get them for nothing.

Haslinger's unauthorised dissemination of Chopin's early C minor sonata (he had gone as far as engraving the work and allowing it to circulate, against the composer's wishes) may have increased the pressure Chopin had to publish a piano sonata, which may explain why Chopin added the other movements to the Marche funèbre to produce a sonata.

The first part of this March is passionate, with the left hand laying heavy chords in a low register, evoking the sound of a ringing church bell. The solemn and heroic melody played by the right hand ultimately makes it sound serious and elegiac.

The second part of the Funeral March comes with another surprising contrast. Within one bar, the movement goes from the darkest mood to the warmest and calmest lullaby with a strikingly simple melody and harmonics. This part brings so much consolation and is so heart-warming that the listener can almost forget about the presence of death lurking around every bar of this movement. However, this ray of hope is soon to be brutally smashed by the return of the first theme – finishing with a cadence fading away, leaving the listener with nothing but dense silence.

Chopin admitted this freely in a letter he wrote to Solange, George Sand’s daughter in 1848:
When I was playing my ‘Sonata in B Flat Minor’ amidst a circle of English friends, an unusual experience befell me. I executed the allegro and scherzo more or less correctly and was just about to start the march, when suddenly I saw emerging from the half-opened case of the piano the cursed apparitions that had appeared to me one evening in the Chartreuse. I had to go out for a moment to collect myself, after which, without a word, I played on.

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Scriabin Etude Op 42 No 5 by Anastasia Huppmann

Anastasia Huppmann 2020-10-08 | Scriabin Etude Op 42 No 5 by Anastasia Huppmann

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My very first Scriabin's video! Write in the comments below if you want me to play more of #Scriabin. :-)
Scriabin's mother was a pianist, his father a diplomat, and he, Alexander Nikolayvich Scriabin was Russia's most unusual composer. During his short life-span of 43 years, Scriabin wrote three symphonies, two symphonic poems, variations for a string quartet, a romance for French horn, a romance for voice, one piano concerto, and more than two hundred compositions for the piano.

The Etudes Op. 42, date to 1903, are among his most rewarding piano works -- works whose nascent modernity point toward the mystical and often weird compositional ideas of his final years. The music here is still post-Romantic, but sounds overripe, pushing out toward new horizons, harmonically, rhythmically, and thematically.

In 1897 he had married the pianist Vera Isakovich , but in 1902 Tatyana Schloezer became his pupil; a romance developed and in 1904 Scriabin and Tatyana travelled to Paris together. They married later despite Russian legal complications. Significantly, the Op 42 Études were the last of Scriabin’s piano music that Vera worked on with him.

Scriabin's Etude op.42 no.5 in c-sharp minor is eloquently marked ‘Affanato’—breathless and anxious. This atmosphere is created by a restless, dense texture and a harmonic language in which nearly every chord is darkened and destabilized by the addition of a seventh. An aspiring second subject, one of Scriabin’s finest melodic inspirations, affords some relief from the grip of nightmare.

Speed, lightness, mobility and ceaseless fluid motion again create the sensation of exhilarating flight.

Here Scriabin's canvas is galactic and his strokes are colossal. The cosmic ship is buffeted by giant breakers, waves that boom and bellow with primal authority. The ship's journey is rebellious and daring, its destiny and destination uncertain.

Scriabin's music is an irrepressible, deeply human desire for freedom, joy, and enjoyment of life. ...by B. Asafyev

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Chopin Nocturne Op 9 No 2 in E flat major by Anastasia Huppmann

Anastasia Huppmann 2020-07-18 | Chopin Nocturne Op 9 No 2 in E flat major by Anastasia Huppmann

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🎹 Chopin Nocturne Op. 9 No. 2 in e-flat major
*the ornaments are original by Chopin. Which version do you prefer? This ornamented one or “the pure” one you can find played by me here: youtu.be/XLzhERtVpq0

❗❗❗❗ WRITE IN THE COMMENTS BELOW ❗❗❗❗

Chopin’s Nocturne op. 9 no. 2 in E-flat major was composed between 1830-1832, when Chopin was around 20 years old. He dedicated 3 nocturnes op. 9 to Maria Pleyel, the wife of an acquaintance of Chopin’s. Maria was one of Chopin’s piano students, and he dedicated many of his works to his students.

🎼 Scores:
There are no less than fifteen known variants for this Nocturne op. 9/2 alone. Why should these variants occur in such quantity in the Nocturne op. 9 no. 2 rather than elsewhere? Nobody knows it for sure, but maybe it’s popularity began to irritate Chopin and by including ornaments may have been acting to prevent the piece from labelling him a salon composer, since it was in the salons that his Nocturne too often ran the risk of being, in his own word, sentimentalisé.
For this recording I used the original by Chopin ornamented version of this Nocturne.

🤩 Popularity:
This Nocturne op. 9 no. 2 in E-flat major is very popular, maybe the most popular of all his nocturnes and has also made its way into many movies and TV shows, such as The Five Year Engagement, Bones, Dexter, Mad Men, Hannibal (the series) and the Simpsons.😁

💝 Form:
This Chopin’s Nocturne is full of symmetrical elegance: The entire piece is 34 bars long and built on phrases with the length of 4 bars. The A section is 4 measures and introduce the theme which leads to the first variation (4 bars long), followed by a ritornello (4 bars long too) and a transition leading to the second variation (guess how long... right! 4 bars), then a ritornello (how many bars? You know the answer😉) , the third variation and finally, by a ritornello and cadenza. So, everything is 4 measures until you get to the coda.

📖 Story:
Here is a little story:
“I sat down at the piano.
Chopin: What about the score?
-I didn’t bring it, I play this Nocturne by heart.
Chopin: I don’t want any of this: are you reciting the lesson? I want to teach either precisely or not at all. I’ve ready told you you don’t know how to work. I gave you the Clementi and by the next lesson it had mysteriously vanished, just like the Moscheles Etudes. You played my Impromptu twice, and that was it already despatched; now it’s a Nocturne, and you forget to bring the score!”
*from Zeleska/Hordyński

👨‍🏫 Chopin’s Teaching:

Chopin’s Nocturne op. 9 no. 2, apparently so innocent and innocuous, poses particular problems of performance - as the composer himself frequently repeated. Chopin’s teaching of it is worth reproducing here.

‘Chopin wanted the bass line to be practiced first by itself, divided between the two hands, and each of the chords should sound like a chorus of guitars. Once the bass part is mastered - with two hands - with a full but piano sonority and in strict time, then the left hand can be trusted with the accompaniment played that way and the tenor invited to sing his part in the upper voice.’
The style should be modelled upon the great Italian school of singing, and the pathos should increase throughout the variations.

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Humoresque Rodion Shchedrin by Anastasia Huppmann

Anastasia Huppmann 2020-04-22 | Humoresque - Rodion Shchedrin by Anastasia Huppmann

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Rodion Konstantinovich Shchedrin (Russian: Родио́н Константи́нович Щедри́н, romanized: Rodion Konstantinovič Ščedrin, pronounced [rədʲɪˈon kənstɐnʲˈtʲinəvʲɪtɕ ɕːɪˈdrʲin]; born 16 December 1932) is a Soviet and Russian composer and pianist, winner of USSR State Prize (1972), the Lenin Prize (1984), and the State Prize of the Russian Federation (1992), and is a former member of the Inter-regional Deputies Group (1989–1991). He is also a citizen of Lithuania and Spain. Rodion Shchedrin is one of the rare cases in composer's life - he has already become a legend during his life.
Humoresque (or Humoreske) is composed in 1959 and generally is a genre of Romantic music characterized by pieces with fanciful humor in the sense of mood rather than wit.

History
The name refers to the German term Humoreske, which was given from the 1800s (decade) onward to humorous tales. Many humoresques can be compared to a gigue in their dance-like qualities, and many were used as dance music from the 1700s onwards.

Notable examples of the humoresque style are:

Schumann's Humoreske in B-flat major (Op. 20, 1839)
Noel Rawsthorne's Hornpipe Humoresque (for organ, based on the Sailor's Hornpipe and including parts of "Rule Britannia" and the Widor Toccata)
Dvořák's set of eight Humoresques (Op. 101, 1894), of which No. 7 in G-flat major is well known.

Shchedrin A la Albeniz played by Anastasia Huppmann

Anastasia Huppmann 2020-04-02 | Shchedrin A la Albeniz played by Anastasia Huppmann
Щедри́н В подражание Альбенису | Schtschedrin Im Stile von Albéniz | Shchedrín Imitando a Albeniz | Chtchedrine A la Albéniz
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The first Soviet work on my channel is symbolic for me: I love Soviet classical music since my childhood and the music of Rodion Konstantinovich Shchedrin means a lot to me. Hope, you will enjoy this great masterpiece full of passion and anguish, resoluteness and desperation.

Rodion Konstantinovich Shchedrin (Russian: Родио́н Константи́нович Щедри́н, romanized: Rodion Konstantinovič Ščedrin, pronounced [rədʲɪˈon kənstɐnʲˈtʲinəvʲɪtɕ ɕːɪˈdrʲin]; born 16 December 1932) is a Soviet and Russian composer and pianist, winner of USSR State Prize (1972), the Lenin Prize (1984), and the State Prize of the Russian Federation (1992), and is a former member of the Inter-regional Deputies Group (1989–1991). He is also a citizen of Lithuania and Spain. Rodion Shchedrin is one of the rare cases in composer's life - he has already become a legend during his life. The composer Rodion Shchedrin dedicated this masterpiece to his wife Maya: she was a beautiful world-famous Soviet ballet dancer, choreographer, ballet director, and actress. Having become “an international superstar” and a continuous “box office hit throughout the world,” Plisetskaya was treated by the Soviet Union as a favored cultural emissary. Although she toured extensively during the same years that other prominent dancers defected, including Rudolf Nureyev, Natalia Makarova, and Mikhail Baryshnikov, Plisetskaya always refused to defect. In 1991, she published her autobiography, I, Maya Plisetskaya.

Asturias Albeniz (by Isaac Albeniz) played by Anastasia Huppmann

Anastasia Huppmann 2020-03-25 | Asturias Albeniz (by Isaac Albeniz) played by Anastasia Huppmann

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Asturias (Leyenda), named simply Leyenda by its composer, is a musical work by the Spanish composer and pianist Isaac Albéniz (1860-1909).

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The piece, which lasts around six minutes in performance,[1] was originally written for the piano and set in the key of G minor. It was first published in Barcelona, by Juan Bta. Pujol & Co., in 1892 as the prelude of a three-movement set entitled Chants d'Espagne.

The name Asturias (Leyenda) was given to it posthumously by the German publisher Hofmeister, who included it in the 1911 "complete version" of the Suite española, although Albéniz never intended the piece for this suite. Despite the new name, this music is not considered suggestive of the folk music of the northern Spanish region of Asturias, but rather of Andalusian flamenco traditions. Leyenda, Hofmeister's subtitle, means legend. The piece is noted for the delicate, intricate melody of its middle section and abrupt dynamic changes.

Albéniz's biographer, Walter Aaron Clark, describes Asturias (Leyenda) as "pure Andalusian flamenco". In the main theme the piano mimics the guitar technique of alternating the thumb and fingers of the right hand, playing a pedal-note open string with the index finger and a melody with the thumb. The theme itself suggests the rhythm of the bulería—a fast flamenco form. The "marcato"/"staccato" markings suggest both guitar sounds and the footwork of a flamenco dancer. Asturias (Leyenda) sounds as though it is written in the Phrygian mode which is typical of bulerías. The second section is a reminiscent of a copla—a sung verse following a specific form. Clark states that it is written in typical Albéniz form as it is "presented monophonically but doubled at the fifteenth for more fullness of sound. The music alters between a solo and accompaniment that is typical of flamenco. The short middle section of Asturias (Leyenda) is written in the style of a malagueña—another flamenco style piece. The malagueña borrows two motives from the previous copla and builds on them. The piece returns to its first theme until a slow "hymn-like" passage ends the piece.

Anastasia Huppmann plays Beethoven Piano Sonata No 8 in C minor Op 13 Pathetique

Anastasia Huppmann 2019-12-12 | Anastasia Huppmann plays Beethoven Piano Sonata No 8 in C minor Op 13 Pathetique

* I. Grave/Allegro di molto e con brio 0:00
* II. Adagio cantabile 9:21
* III. Rondo: Allegro 15:01

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Marry Christmas will come very soon. Thank you so much for supporting me with your subscriptions, comments, likes and views this year, you make me so happy!😃 As a humble sign of my endless gratitude I recorded this great masterpiece you’ve asked for most. Hope you will enjoy it and suggest more pieces you like to watch on my YouTube Channel in the future! Be free and feel you like at home. 🏠 P.S. hope you will’t miss my long hair, suddenly it became disturbing while playing Beethoven.

Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. It has remained one of his most celebrated compositions. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities.Prominent musicologists debate whether or not the Pathétique may have been inspired by Mozart's piano sonata K. 457, since both compositions are in C minor and have three very similar movements. The second movement, "Adagio cantabile", especially, makes use of a theme remarkably similar to one in the spacious second movement of Mozart's sonata.

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Beethoven Piano Sonata No 8 in C minor Op 13 Pathetique is played by Anastasia Huppmann. Beethoven Piano Sonata No 8 in C minor Op 13 Pathetique is recorded by Anastasia Huppmann in Vienna, Austria. All Audio and Video Rights belongs to Anastasia Huppmann

Chopin Nocturne Op 9 No 2 Anastasia Huppmann

Anastasia Huppmann 2019-10-18 | Chopin Nocturne Op 9 No 2 recorded and played by Anastasia Huppmann in Steyr, Austria.

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Chopin composed his best-known Nocturne Op 9 No 2 when he was around twenty years old.

This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The Chopin Nocturne Op 9 No 2 also includes a subordinate melody, which is played with rubato.

In the late memoirs of the interesting and mysterious figure Wilhelm von Lenz, a pupil of Liszt (then of Chopin) and an eminent music writer (author of an important study of Beethoven), one comes across an amusing, but thought-provoking story concerning this Nocturne. Lenz recalls the times when he took lessons from Chopin. ‘I tormented Chopin most’, he relates, ‘with the famous Nocturne in E flat major, Op. 9 […] in 1842 it was in the full bloom of fashion […] When Chopin was pleased with a scholar, he, with a small, well-sharpened pencil, made a cross under the composition. I had received one, in the Nocturne (premier chevron); next time I came, I got another. I came still another time. “Do please let me alone,” said Chopin […] there, you have another cross, more than three I never give. You cannot do it any better!” “You play it so beautifully,” I ventured, “can no one else?” “Liszt can,” said Chopin, drily, and played it to me no more. He had noted in it some very important little changes for me; his notes were clean, small, and sharp.

The Chopin Nocturne Op 9 No 2 was recorded in Austria. All rights (Audio and Video) belongs to Anastasia Huppmann.

The Barber of Seville/ Figaro‘s Aria „Largo al factotum“ - Rossini-Ginzburg

Anastasia Huppmann 2019-05-17 | G.Rossini-G. Ginzburg
Paraphrase / Fantasy on Figaro‘s Aria/Air/Cavatina „Largo al factotum“ from Il barbiere di Siviglia (The Barber of Seville or The Useless Precaution)

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MANY THANKS TO:
Bösendorfer | Der Klang, der berührt
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Claudia Lindemood | Hairstylist Vienna, Austria
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This iconic piece is an aria from The Barber of Seville by Italian composer Gioachino Rossini. It is sung at the first entrance of the title character and the repeated Figaros are one of the most familiar parts of operatic singing in popular culture. "Largo al Factotum" translates into English as "Make way for the factotum." The term "factotum" refers to a general servant and comes from the Latin where it literally means "do everything." The Barber of Seville was completed by Rossini in 13 days and is based on Pierre Beaumarchais's comedy, Le Barbier de Séville, which took Paris by storm in 1775.

The opera was premeried in Rome on February 20, 1816 and its first night was a disastrous failure, the audience hissing and jeering throughout. Everything went wrong, a guitar string snapped, a cat walked on stage and there were protestations originated by a rival composer who had recently written his own version of the same story. Rossini quickly added some additional humorous lyrics for characters like the resourceful, witty servant Figaro but apprehensive he missed the second night pretending to be ill. Unaware that this time, the audience loved his opera, the composer heard a commotion on the street and fearing the crowds were out to get him, he was relieved to find they were out to congratulate him.

Figaro in The Barber of Seville is the same character as in Mozart's The Marriage of Figaro opera. The aria and the overture of The Barber of Seville have been parodied in numerous animated cartoons including Woody Woodpecker (The Barber of Seville), Bugs Bunny (Rabbit of Seville and Long Haired Hare), Tom and Jerry (The Cat Above and the Mouse Below and Kitty Foiled), and The Simpsons Homer of Seville).

Grigory Romanovich Ginzburg was a Jewish-born, Russian pianist.

He was recognized as one of the finest musicians in the Soviet Union and toured Europe several times. He became an important professor at the Moscow Conservatory in 1929. Some of his best-known students are Gleb Axelrod, Sergei Dorensky, Regina Shamvili and Sulamita Aronovsky. Ginzburg was best known for his piano touch that had ties with the tradition of 19th century players such as Franz Liszt. His eclectic repertoire and his art of transcription made of him one of the most unique performers in piano history.

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RECORDED, PLAYED, and OWNER OF ALL RIGHTS of this VIDEO is Anastasia Huppmann

Star Wars | Cantina Band Piano | John Williams | STAR WARS 9 THE RISE OF SKYWALKER

Anastasia Huppmann 2019-04-29 | Star Wars | Cantina Band Piano | John Williams | A NEW HOPE | STAR WARS 9 THE RISE OF SKYWALKER

*** Write in the comments below: What do you think about the sound of the YAMAHA N3X with the simulation of the Bösendorfer Imperial sound? ***

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Star Wars Theme/Cantina Band" is a song recorded by Meco, taken from the album Star Wars and Other Galactic Funk. It hit number one on the Billboard Hot 100 on October 1, 1977, holding on to the spot for two weeks and peaked at no. 7 on the UK Singles Chart, remaining in the charts for nine weeks. The single was certified Platinum by the Recording Industry Association of America, having sold a million units.

"Star Wars Theme/Cantina Band" is one of two songs which became hits featuring music from the Star Wars movie. The other is "Star Wars (Main Title)," which is original music from the movie soundtrack by John Williams. The song reached the Top 10 concurrently with Meco's more popular version. Meco again jousted with Williams a few months later, with both artists issuing competing versions of music from Close Encounters of the Third Kind, both reaching the US and Canadian Top 40, but with Williams' version being more successful than Meco's.

Played on YAMAHA N3X AvantGrand:
Not creating a piano, but rediscovering one. This, summed up in a single phrase, was the concept behind the development of the AvantGrand. Making a so-called "acoustic" piano requires extensive technique and know-how, qualities accumulated through our many years of experience. However, a major theme in the creation of the AvantGrand involved consciously refraining from relying on this experience. Rather than designing from a standpoint of what a piano must be, we gave priority to looking at what it could be, searching for the kind of instrument that would suggest a new direction for the piano.

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Chopin Nocturnes Op 48

Anastasia Huppmann 2019-03-15 | Chopin Nocturnes Op 48

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The Chopin Nocturne Op 48 No 1 C minor has been categorized as one of Chopin's greatest emotional achievements. Theodor Kullak said of the piece, "the design and poetic contents of this nocturne make it the most important one that Chopin created; the chief subject is a masterly expression of a great powerful grief. Jan Kleczyński, Sr. calls the nocturne "broad and most imposing with its powerful intermediate movement, a thorough departure from the nocturne style. Some musical critics, including Charles Willeby and Frederick Niecks, do not think the piece deserves its fame and position; though James Huneker agrees with this assessment, he notes that the nocturne is still "the noblest nocturne of them all. James Friskin found the music to have "the most imposing instrumental effect of any of the nocturnes," calling the crescendo and octaves "almost Lisztian.

Jim Samson notes that the Chopin Nocturne Op 48 No 1 C minor intensifies "not through ornamentation, but through a new textural background. Kleczyński commented that the middle section "is the tale of a still greater grief told in an agitated recitando; celestial harps come to bring one ray of hope, which is powerless in its endeavor to calm the wounded soul, which...sends forth to heaven a cry of deepest anguish." The ending, according to Samson, is "in the nature of an elaborated 'feminine ending', articulating the reactive final beat of an amphibrach grouping.

The Nocturne in F-sharp minor, Op 48, No. 2 is initially marked andantino and is in 4/4 meter. It switches to più lento at measure 57 and returns to the original tempo at measure 101. The piece is a total of 137 measures long.

When compared with the other parts, the middle section of the Chopin Nocturne Op 48 No 2 f-sharp minor, più lento, is completely different—the piece modulates from minor to major (D-flat), changes its meter to 3/4 and decreases tempo. Frederick Niecks commented that the middle section "is much finer" and contains "soothing, simple chord progressions. Chopin once noted that the middle section was like a recitative and should be played as if a tyrant commands, and the other asks for mercy. The recapitulation is cut short by the coda, which ends in F♯ major

Chopin Nocturnes Op 48 are played and recorded by Anastasia Huppmann

Chopin Nocturne Op 48 No 2 f-sharp minor by Anastasia Huppmann

Anastasia Huppmann 2019-02-23 | Chopin Nocturne Op 48 No 2 f-sharp minor

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The Nocturne in F-sharp minor, Op 48, No. 2 is initially marked andantino and is in 4/4 meter. It switches to più lento at measure 57 and returns to the original tempo at measure 101. The piece is a total of 137 measures long.

When compared with the other parts, the middle section of the Chopin Nocturne Op 48 No 2 f-sharp minor, più lento, is completely different—the piece modulates from minor to major (D-flat), changes its meter to 3/4 and decreases tempo. Frederick Niecks commented that the middle section "is much finer" and contains "soothing, simple chord progressions. Chopin once noted that the middle section was like a recitative and should be played as if a tyrant commands, and the other asks for mercy. The recapitulation is cut short by the coda, which ends in F♯ major

Chopin Nocturne Op 48 No 2 f-sharp minor is played and recorded by Anastasia Huppmann

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Chopin Nocturne Op 48 No 1 C minor

Anastasia Huppmann 2019-01-29 | Chopin Nocturne Op 48 No 1 C minor

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The Chopin Nocturne Op 48 No 1 C minor has been categorized as one of Chopin's greatest emotional achievements. Theodor Kullak said of the piece, "the design and poetic contents of this nocturne make it the most important one that Chopin created; the chief subject is a masterly expression of a great powerful grief. Jan Kleczyński, Sr. calls the nocturne "broad and most imposing with its powerful intermediate movement, a thorough departure from the nocturne style. Some musical critics, including Charles Willeby and Frederick Niecks, do not think the piece deserves its fame and position; though James Huneker agrees with this assessment, he notes that the nocturne is still "the noblest nocturne of them all. James Friskin found the music to have "the most imposing instrumental effect of any of the nocturnes," calling the crescendo and octaves "almost Lisztian.

Jim Samson notes that the Chopin Nocturne Op 48 No 1 C minor intensifies "not through ornamentation, but through a new textural background. Kleczyński commented that the middle section "is the tale of a still greater grief told in an agitated recitando; celestial harps come to bring one ray of hope, which is powerless in its endeavor to calm the wounded soul, which...sends forth to heaven a cry of deepest anguish." The ending, according to Samson, is "in the nature of an elaborated 'feminine ending', articulating the reactive final beat of an amphibrach grouping.

Frédéric Chopin Fantaisie in F minor Op 49

Anastasia Huppmann 2019-01-08 | Frédéric Chopin Fantaisie in F minor Op 49

The musicologist Arthur Hedley has observed that "As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime." Chopin played more frequently in salons, not in big concert venues. He disliked a “public concert-giving” and meant that only an intimate, familiar atmosphere can let you be a witness of real art and feel the music and the artist’s soul deeply. In this concert program with the Title “Notturno” as a leitmotif, recorded at the beautiful chapel Styraburg (built at the 10th century, restored and modernized in the first half of the 19th century, at the times of Chopin’s life) we tried to come closer to the Chopin’s idea of how a piano concert should be like and to demonstrate an extract of the richness of Chopin’s palette of genres and composer’s style.

Frédéric Chopin Fantaisie in F minor Op 49 (also just called "Chopin Fantasy")

Frédéric Chopin's Fantaisie in F minor, Op. 49, (Chopin Fantasy) is a single-movement work for the piano, composed in 1841, when he was 31 years old. From Chopin's letters it is known that he used the name "fantasy" to show some sort of freedom from rules and give a Romantic expression. Frédéric Chopin continued the tradition of a self-contained movement in his Fantaisie. Chopin Fantaisie is one of Chopin's longest and greatest works. Only his Polonaise-Fantaisie, sonatas, and piano concertos are longer.

Chopin Fantasie belongs to the Fantasy form, a composition free in form and inspiration.It begins with a solemn marching theme that eventually plunges into a passionate and virtuosic section, marked poco doppio movimento, still with elements of marching, but more triumphant and positive in mood.

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