classical

Piano miniature 18

La Fille Aux Cheveux De Lin

Impromptu Op.5 Nos. 5 & 6 - Jean Sibelius

While Bach was the end-all-be-all of the Baroque period, Chopin was the golden boy of the Romantic era. Just like the early Romantics rejected the cool objectivity of their predecessors, Chopin's music was all about expressing the self in all its various forms. In exploring new harmonic realms and tonal relationships, he had to come up with new forms to contain his highly individual creative messages. This resulted in his "character pieces" or piano miniatures - the shortest of which weighs in at just 16 measly measures. His Nocturnes, 19 in all, are particularly soulful and expressive, making them some of Chopin's most intimate pieces. Interestingly, Chopin has been wrongly credited with creating the genre of the romantic night piece. In fact, that honor goes to John Field, who composed 17 Nocturnes, the first three of which appeared when Chopin was just four years old. But don't let that take away from Chopin's supreme talent in the Nocturne genre. In short, Chopin was a true master of the Nocturne and his contributions to the genre will never be forgotten. Or at least until the next guy comes along and claims he invented it.

The Dublin-born Field was a pianist of wide acclaim throughout Europe. He was a student of Muzio Clementi and even worked in his piano shop. Field composed a ton of music, including eight piano concertos and 17 Nocturnes, the first three of which appeared in 1814 - when Chopin was just four years old. Most authors of books on Chopin try to downplay the influence of the Irish composer on the Polish master. Field may have invented the genre, but it was Chopin who really took it to the next level. You could say that Chopin took the essentials of the Nocturne and intensified them a thousandfold - like adding extra hot sauce to your already spicy burrito.

Even if you believe that Field invented the genre of the Nocturne, there's no denying that Chopin was a supreme practitioner in the field (pun intended). His piano style fully exploited the singing quality of the instrument and created a whole world of sonorities. He also used the sustaining pedal to amplify the piece's distinctive sonority, and his use of rubato contributed to the poetic ambiance. On a musical level, Chopin introduced the element of chromaticism into his harmonic structure, which influenced virtually all composers who came after him. Chopin's 19 Nocturnes are a real mixed bag - some are dreamy, some are tear-jerkers, and some are just plain stoic. The E-major Nocturne on this program is the 18th and final one that Chopin published in his lifetime (he did leave us with one more, but that was published posthumously). It's a real crowd-pleaser - it's got a nice, flowing melody and some fancy filigree, all held together by some sturdy chordal accompaniment. But don't worry, things don't stay calm for long - the left hand starts moving like crazy, and we get a new melody to go along with it. Then things get really interesting - we've got some syncopated, agitated music that really raises the tension. But don't worry, the main theme comes back to calm things down. And just when you think it's over, Chopin pulls out a little two-measure epilogue that some people might find a little unnecessary. But hey, who are we to question the master?

This is a live recording from Auer Hall at Indiana University Jacobs School of Music of one of Frederic Chopin's last works, the Nocturne in E major, op. 62, no. 2. 
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Piano: New York Steinway & Sons Model D

Frederic Chopin Nocturne in E major, op. 62, no. 2

125 Classical Piano Essentials (Classical Music Collection)

2 Legends, S.175, St. Francis of Paula "Walking On The Waves"

2 Preludes Through All The Major Keys, Op. 39, II

Piano Sonata No. 2 in F major, K. 280, II. Adagio

Piano Sonata No. 1 in C major, K. 279, II. Andante Con Moto

Piano Sonata No. 6 in F, Op. 10, I. Allegro

Piano Sonata No. 7 in C major, K. 309, I. Allegro, II. Andante, III. Rondeau

Piano Sonata No. 2 in F major, K. 280, I. Allegro Assai

Piano Sonata No. 1 in C major, K. 279, III. Allegro

Piano Sonata No. 31 in Ab major, Op. 110, II. Scherzo

This is a new recording and edition of J.S. Bach’s Goldberg Variations, BWV 988. Recorded by <a href="http://kimiko-piano.com">Kimiko Ishizaka</a> on a <a href="http://www.boesendorfer.com/de/modell-290-imperial.html">Bösendorfer 290 Imperial</a> in the <a href="http://www.teldexstudio.de/en/start.html">Teldex Studio, Berlin</a>, produced by <a href="http://www.annemariesylvestre.com/AMS_FR/EN.html">Anne-Marie Sylvestre</a>, this recording will be the first fan-funded, open source, and completely free recording ever produced. The score, provided by Werner Schweer, was created using an open peer review process and the leading-edge <a href="http://musescore.org">MuseScore software</a>. Best of all, every part of it is free for you to use, share, and copy.

We hope you enjoy the <a href="http://www.opengoldbergvariations.org/">Open Goldberg Variations</a>. Don’t forget to tell your friends about this exciting cultural treasure!

Recorded on a Bösendorfer 290 Imperial at Berlin's Teldex Studio.
Produced, edited by Anne-Marie Sylvestre
Mixed by Anne-Marie Sylvestre, assisted by René Laflamme
Mastered by René Laflamme (Fidelio)

Dedication:
<i>Für Natalie, Fiona und Isabelle
'Dem höchsten Gott allein zu Ehren, dem Nächsten, draus sich zu belehren' - Lebensmusik, im Sinne des Meisters nun freigesetzt, für Euch und Eure Welt.</i>

KIMIKO ISHIZAKA - Goldberg Variations BWV 988 - 02 - Variatio 1 a 1 Clav.  44k-24b

Adelita, Mazurca de Francisco Tarrega 1852 - 1909.

David R. Coria - Adelita (Mazurca)

Midi of the Prelude In C Minor by Johann Sebastian Bach

J.S.Bach - Well Tempered Clavier - Prelude In C Minor (Midi)

Piano Sonata No. 1 in C major, K. 279, III. Allegro

Mezza Classical Ensemble

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