Pierre Barbedette Videos
französischer Politiker, Mitglied der Nationalversammlung
- Frankreich
- Politiker, Musikschriftsteller, Komponist
Letzte Aktualisierung
2024-05-02
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Fryderyk Chopin Arthur Rubinstein Pollini Bach Theodor Kullak James Huneker Tomaszewski Hippolyte Barbedette 1861
Chopin Nocturnes Op.55 - Arthur Rubinstein (Op.55 No.1) - Mazurio Pollini (Op.55 No.2) Op.55 No1: The first dozen bars or so of the Nocturne in F minor, which together with the Nocturne in E flat major comprises Opus 55, were written into the album of Elizabeth Sheremetev. The opening theme, which is also the principal theme of this work, returns often, slightly altered nearly every time. It bears a melancholy that is deepened by the almost obsessive repetition of the initial melody, which proceeds in a tempo and rhythm characteristic of nocturne contemplation. This elegiac aura is contrasted with a brief counter-theme: music that escapes for a moment into a realm of brighter sonorities (A flat major), though it does so in vain. All that we have heard up to this point was merely a foretaste of what is to follow. And follow it does. It takes the form of a collision between the violent octaves of an aggressive recitative and the calm strength of the chords that stand opposite. The tumult leads to a climax, a watershed. The exalted passage of the recitative leads the narrative back into the melancholy aura from which it emerged. Yet Chopin does not leave the listener in that mood till the end. Following the example of Bach, he closes the work with a ray of hope, by changing a single note, as a result of which the key of F minor becomes F major. For the pianist, it is a perilous moment, as one easily falls into a naive-sentimental mood. The famous pianist and editor Theodor Kullak summarised that passage from the minor to the major with an ironical sigh: ‘And so, thank God, the goal is reached!’ James Huneker wrote: ‘Something of Chopin’s delicate, tender warmth and spiritual voice is lost in larger spaces. In a small auditorium, and from the fingers of a sympathetic pianist, the nocturnes should be heard, that their intimate, night side may be revealed. […] They are essentially for the twilight, for solitary enclosures, where their still, mysterious tones […] become eloquent and disclose the poetry and pain of their creator.’ Author: Mieczysław Tomaszewski A series of programmes entitled ‘Fryderyk Chopin's Complete Works’ Source: (http•••) Op.55 No.2: The music of the second of the opus 55 nocturnes has been referred to as ‘notated improvisation’. Here, Chopin expresses his thoughts out loud, in music. Or perhaps meditation rather than thoughts, as it begins, but seems never to end, presaging Wagner’s unending melodies. The narration proceeds at a slow, restrained tempo (lento sostenuto), in the most long-breathed metre possible: 12/8. The melody flows along in solitude, against an unusually expansive accompaniment, though that solitude is interrupted every so often by the voice of the accompaniment, complementing (like a contrapuntal, chromaticised shadow) the upper part – crystal clear and sublime. The Nocturne in E flat major, Op. 55 No. 2 has a distinctive design, not found among Chopin’s other nocturnes. Here, contrast (between sections) is replaced by a continuous undulation of the melodic narrative: between piano and forte, between the swelling and abatement of emotions. One might even be excused for not noticing that the music of the second phase of this two-phase work repeats the music of the first phase, albeit in variation. The music of the nocturnes has exerted a powerful and immediate fascination over listeners. This was expressed by the Paris critic Hippolyte Barbedette, one of Chopin’s first biographers, in a manner that might even arouse surprise: ‘Chopin’s nocturnes’, he wrote in his study of the composer in 1861, ‘are perhaps his greatest claim to fame; they are his most perfect works’. That is how they were seen in Paris during the mid nineteenth century. Barbedette explained the reason for their success as follows: ‘That loftiness of ideas, purity of form and almost invariably that stamp of dreamy melancholy’. Author: Mieczysław Tomaszewski A series of programmes entitled ‘Fryderyk Chopin's Complete Works’ Source: (http•••) 0:00 No.1 5:41 No.2 Sheet: (http•••)
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