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Chopin: Balladen

Ballade No. 2 in F Major, Op. 38

Chopin - Ballade No. 2 in F Major op. 38

Music for Reading

Bach: Suite No. 5 in C Minor, BWV 1011

Nocturne in E Flat Major, Op. 9: No. 2

Chopin - Nocturne in E Flat Major op. 9 No. 2

4. Suzie Creamcheese - Dario Marianelli


Shigatsu wa Kimi no Uso Boku to Kimi to no Ongakuchou 四月は君の嘘 僕と君との音楽帳 (Download) 

(MP3/320K/BK) Release (2014.11.19)

Tracklist 

01 Piano Sonata No. 14 <Moonlight> Third Movement
02 Violin Sonata No. 9 <Kreutzer> First Movement
03 Introduction and Rondo Capriccioso
04 Étude in C-sharp minor, Op. 10, No. 4
05 Étude in A minor, Op. 25, No. 11 <Winter Wind>
06 Étude in E minor, Op. 25, No. 5
07 Love’s Sorrow
08 Love’s Sorrow (Piano Solo Version)
09 Étude in D-sharp minor, Op. 8, No. 12
10 Clair de Lune
11 Pavane Pour une Infante Défunte
12 ‘Waltz’ from “The Sleeping Beauty” (Piano Duet Version)
13 Étude in C minor, Op. 10, No. 12 <Revolutionary Étude>
14 Ballade No. 1 in G minor, Op. 23


05 Étude in A minor, Op. 25, No. 11 <Winter Wind>

Etude in E Minor Op 25 No 5 ''Wrong Note'' - Chopin

European Melodies

Scherzo No. 2 in B-Flat Minor, Op. 31

Chopin - Scherzo No. 2 in B-flat minor, Op. 31 (Live)

Claude Debussy’s Clair de Lune is the third movement of his Suite Bergamasque, written for solo piano and completed in 1905. The title, meaning “Moonlight,” is inspired by Paul Verlaine’s poem, evoking a serene and reflective atmosphere. The piece epitomizes French Impressionism, focusing on mood and imagery over traditional form.
Structure and Atmosphere

The piece is in ternary form (ABA):

    Opening (A):
    A soft, flowing melody emerges over delicate arpeggios. The music feels weightless, like moonlight shimmering on water. Debussy uses rich harmonies and seventh chords to create a dreamlike quality, with a tender, introspective mood.

    Middle Section (B):
    The dynamics intensify, with fuller textures and soaring melodic lines. This section brings a sense of emotional depth and urgency, contrasting with the calm opening. Arpeggios cascade dramatically, giving the impression of moonlight suddenly brightening or revealing hidden beauty.

    Closing (A):
    The opening material returns, slightly varied, fading into a gentle, whisper-like conclusion. The piece ends as quietly as it began, leaving a sense of stillness and wonder.

Musical Features

    Harmonics: Debussy’s use of whole-tone scales, parallel chords, and non-functional harmony creates a suspended, ethereal soundscape.
    Melody: The lyrical melody floats effortlessly above the accompaniment, expressing both simplicity and emotional depth.
    Texture: Light, transparent textures alternate with moments of lush, resonant fullness, embodying the interplay of light and shadow.

Mood and Interpretation

Clair de Lune evokes the quiet magic of a moonlit night, combining serenity with subtle melancholy. Its poetic quality invites listeners to imagine moonlight reflecting on a calm lake, whispering through trees, or illuminating a tranquil landscape. The music feels timeless, blending stillness with fleeting moments of intensity.

Cultural Impact

This iconic piece has been widely used in films (Ocean’s Eleven, Twilight) and pop culture, often accompanying scenes of romance, nostalgia, or quiet reflection. Its universal appeal lies in its ability to evoke deep emotion while remaining understated.
Performance Notes

Expressive dynamics, fluid phrasing, and careful pedaling are essential to capturing its delicate atmosphere. A balance between freedom and control ensures its dreamlike flow remains intact.

Clair de Lune is a masterpiece of impressionistic music, celebrated for its ability to transport listeners into a realm of quiet beauty and introspection.

Claude Debussy - The Essential Collection

Clair de Lune

While all these statements describe Aleksandra Mikulska’s playing, her art is perhaps best encapsulated by the phrase: sincerity and intimacy. In her concerts, the charismatic pianist lifts the curtain on new and unfamiliar worlds and aims to move her listeners – whether with the works of Johann Sebastian Bach, Joseph Haydn, Franz Liszt or her compatriot Frédéric Chopin, with whom she feels a particularly strong connection – through her utter absorption in the music.

Growing up in Warsaw, Chopin’s home city, Aleksandra Mikulska developed an intense love of the composer’s piano music while still a child. Having, in her early years, followed the International Chopin Piano Competition on television, with scarcely room for a piano in the family’s tenth-floor apartment in a prefabricated block, she went on to win the “Best Polish Pianist” prize in the 2005 contest. 

Seeking freedom and new interpretative stimuli, Aleksandra Mikulska was drawn for her musical training initially to Mannheim and from there to Karlsruhe (where she studied for her degree under Peter Eicher), Imola in Italy (Lazar Berman, Michel Dalberto) and back to Hanover in Germany (Arie Vardi). She also drew significant inspiration from masterclasses with Diane Andersen, Kevin Kenner, Andrzej Jasinski and Lev Natochenny. Aleksandra Mikulska describes giving concerts as her passion. She has appeared with renowned orchestras under the batons of Michael Sanderling, Pawel Przytocki, Kaspar Zehnder, Johannes Schlaefli, Stefan Fraas, Philippe Bach and other well-known conductors – notably at the Musikverein in Vienna, the Brucknerhaus in Linz and the Tonhalle in Zurich. She is also a regular guest at international festivals such as the MDR Musiksommer, the Liszt Festival Raiding, the Bodenseefestival, the Usedom Music Festival and the Styriarte.

An issue particularly close to Aleksandra Mikulska’s heart is German-Polish cooperation. As President of the Chopin Society in Darmstadt, she is committed to fostering the up-and-coming generation of musicians and to promoting the rediscovery of less-well-known composers from her home country. She also brings her polish roots to bear by performing the music of composers such as Julian Fontana, Miłosz Magin, Artur Malawski and Karol Szymanowski, which is rarely played in Germany.

In addition to the solo repertoire to which she is first and foremost devoted, Aleksandra Mikulska also, at a young age, discovered an interest in chamber music – including Johannes Brahms’s violin and cellos sonatas and the piano concertos of Mozart, Beethoven and Chopin, which she enjoys approaching in experimental arrangements for smaller ensembles. She also has a strong interest in Polish and German Romantic lieder. 

On her latest album, Reflections, released by GENUIN classics, Aleksandra Mikulska brings together two key works of the Romantic repertoire for piano: the B minor sonatas of Frédéric Chopin and Franz Liszt. During the 2020/21 season, she will be giving a wide range of concerts with personally presented programmes featuring works by Scarlatti, Haydn, Schumann, Beethoven, Fontana and Szymanowski.

Chopin - Scherzo No. 2 in B-flat minor, Op. 31 (Live)

Aleksandra Mikulska

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