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Frederik Šopen

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Волим Шопена. Има доста вратоломија на клавиру али је све у границама и по укусу. Лисзту се дивим, али са ниједним композитором не "саосећам" као са Шопеном. Можда Де Биси, али ми је он некад и сувише романтичан.

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On 15.5.2018. at 13:02, JESSY рече

mogu ga neprestano slusati...

Samo sto ovo nije Sopen, nego "Mariage D'amoure" Paula de Sennevillea... i to nesto cudnovato izmenjen. Evo originala... :)

...

 

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Frédéric Chopin Fantaisie Impromptu in C♯ minor Op. posth. 66 was composed in 1834 as were the Four Mazurkas (Op. 17) and the Grande valse brillante in E♭ major (Op. 18), and published posthumously in 1855 even though Chopin had instructed that none of his unpublished manuscripts be published. The Fantaisie-Impromptu is one of Chopin's most frequently performed and popular compositions. Chronologically the first of Chopin’s impromptus, the Fantasy-Impromptu was not intended by the composer for publication. The assumption arose that it was withheld on account of a stated similarity – unintentional, no doubt – to the Impromptu in E flat major by Ignaz Moscheles. However, Arthur Rubinstein, who came into the possession of one of its manuscripts, assumes that this work was sold to a grande dame (the Baroness d’Est), who simply wanted to have it as her exclusive property. One way or another, the C sharp minor Impromptu remained in the composer’s portfolio and, along with the other inedita, was supposed to have been consumed by fire.

Ernst Oster observes that the Fantaisie Impromptu draws many of its harmonic and tonal elements from Beethoven's Moonlight Sonata, which is also in C♯ minor, and from the third movement in particular. Two measures after the melody sets in, an abrupt run features the same notes, only one octave higher, like the cadenza in the sonata's third movement (Presto agitato). The climax on a chord is similar in both pieces. Also, the Fantaisie-Impromptu's middle part and the second movement of the Moonlight Sonata are in D♭ major. The first and third movements are in C♯ minor. For those and other reasons, Ernst Oster writes, "Chopin understood Beethoven to a degree that no one who has written on the C♯ minor Sonata or the Fantaisie-Impromptu has ever understood him. ... The Fantaisie-Impromptu is perhaps the only instance where one genius discloses to us—if only by means of a composition of his own—what he actually hears in the work of another genius."

This work has the shape of a reprise miniature, like the reverse of a form which is frequent in the nocturnes. In an impromptu, the outer sections are dominated by increased movement, while the middle section brings a dreamy lull. This shape was already familiar to Schubert; Chopin took it up and employed it also in his three later impromptus, establishing the pattern in a way that was far-removed from all schematicism. In his first impromptu, however, he could not avoid a certain schematicism. He did, though, offer a certain innovation in the area of texture. He had each of the hands play in a different metre: the right in duple time, the left in triple time. Hence the outer sections, adhering to an allegro agitato tempo, took on an almost etude-like appearance (bars 5–12).

The middle section brings music that is typical of the slow sections of nocturnes. It proceeds at a moderato cantabile tempo, spinning out sotto voce a melody in D flat major, which returns a couple of times, as if unable to find a way out of the labyrinth. The accompaniment, which runs in even triplets – converges with it or nonchalantly avoids it (bars 43–50). Fantaisie Impromptu in C# Minor: An Odyssey of Melodic Genius Frédéric Chopin is undoubtedly one of the most famous pianists of all time. Even those who are unfamiliar with classical music can identify one or more of his tunes; largely due to the fact that have been featured in many modern films. However, to truly understand the genius of Chopin we must delve into the mysteries and emotions embedded within his pieces. One of the reasons why this artist has always intrigued me stems from the technical challenges required in order to play his compositions; particularly his nocturnes. One well-known selection which had fascinated me from a very early age is his Fantaisie Impromptu in C# Minor.

Not only will its melodic components take the listener on a sonorous journey through the mind’s eye of the composer, but the rather interesting history surrounding this piece … to read more: http://www.anastasiahuppmann.com/fant... Subscribe to my Channel to see more new videos!:-) Like the video to make me happy!:-)

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Придружите се разговору

Можете одговорити сада, а касније да се региструјете на Поуке.орг Ако имате налог, пријавите се сада да бисте објавили на свом налогу.

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  • Сличан садржај

    • Од JESSY,
      Frederik Daglas poznati je afroamerički mislilac, abolicionista i govornik. U svom proslavljenom memoaru Narativ Frederika Daglasa, američkog roba iz 1845. godine, on je zagovarao prava afroameričkih robova i bio je jedan od vođa pokreta protiv ropstva.
      U jednom trenutku svog života radio je i kao savetnik Abrahama Linkolna tokom Građanskog rata u Americi, da bi kasnije postao i prvi Afroamerikanac koji je bio na zvaničnoj političkoj funkciji. Štaviše, iako nikada nije zvanično prihvatio nominaciju, bio je takozvani „running mate“ Viktoriji Vudhal u predsedničkoj kampanji iz 1872. godine.
      Portret Frederika Daglasa  
      Pre svega nadaren za pisanje govora i pokretanje širokih narodnih masa na akciju, Frederik Daglas često je citiran širom sveta.
      Ovih 20 njegovih citata mogu nam štošta reći o životu i neverovatno su relevantni čak i danas.
      O vezi između napretka i muke
      „Ako ne postoji muka, ne postoji ni napredak. Oni koji izjavljuju kako su naklonjeni slobodi, a ipak
      omalovažavaju kad se stvari uzburkaju, su ljudi koji žele useve, a da prethodno ne uzoru zemlju. Žele kišu bez munja i gromova. Žele okean bez strašnog urlika njegovih mora. Ovakva muka može biti moralne prirode; ili može biti fizičke prirode; ili može biti i moralne i fizičke prirode; ali muke mora biti. Moć ne ustupa ništa bez zahteva. Nikada nije i nikada i neće.“

Све поруке на форуму, осим званичних саопштења Српске Православне Цркве, су искључиво лична мишљења чланова форума 'Живе Речи Утехе' и уредништво не сноси никакву материјалну и кривичну одговорност услед погрешних информација. Објављивање информација са сајта у некомерцијалне сврхе могуће је само уз навођење URL адресе дискусије. За све друге видове дистрибуције потребно је имати изричиту дозволу администратора Поука.орг и/или аутора порука.  Коментари се на сајту Поуке.орг објављују у реалном времену и Администрација се не може сматрати одговорним за написано.  Забрањен је говор мржње, псовање, вређање и клеветање. Такав садржај ће бити избрисан чим буде примећен, а аутори могу бити пријављени надлежним институцијама. Чланови имају опцију пријављивања недоличних порука, те непримерен садржај могу пријавити Администрацији. Такође, ако имате проблема са регистрацијом или заборављеном шифром за сајтове Поуке.орг и Црква.нет, пошаљите нам поруку у контакт форми да Вам помогнемо у решавању проблема.

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