Chopin: The Piano Concertos (Cambridge Music Handbooks)

By John Rink

Chopin's E minor and F minor Piano Concertos performed an essential function in his profession as a composer-pianist. Praised for his or her originality and genius while he played them, the concertos later attracted censure for ostensible weaknesses in shape, improvement and orchestration. additionally they suffered by the hands of editors and performers, the entire whereas final greatly well known. This guide re-evaluates the concertos opposed to the traditions that formed them in order that their many amazing traits will be absolutely preferred. It describes their genesis, Chopin's personal performances and his use of them as a instructor. A survey in their serious, editorial and function histories follows, in coaching for an analytical 're-enactment' of the song - that's, a story account of the concertos as embodied in sound, instead of within the rating. the ultimate bankruptcy investigates Chopin's enigmatic 'third concerto', the Allegro de live performance. Chopin: The Piano Concertos has gained the Wilk booklet Prize for learn in Polish tune.

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Roger Norrington, 1989 (NSA B4432) Nikolai Demidenko, Philharmonia, cond. Heinrich Schiff, 1993 (Hyperion CDA 66647) Fumiko Shiraga, The Yggdrasil Quartet with Jan-Inge Haukas, 1996 (BIS-CD847) 107 Notes 1 Contexts 1 Walter Benjamin's word. For dialogue of cultural lifestyles in early nineteenthcentury Paris, see Bloom (ed. ), tune in Paris, and Ralph P. Locke, 'Paris: centre of highbrow ferment', in Ringer (ed. ), Early Romantic, 32—83. Sachs ('London') additionally offers proper heritage details. 2 His compliment for Chopin's diversifications on 'La ci darem los angeles mano' ('Ein Opus IF, Allgemeine musikalische Zeitung 33 (1831), cols. 805—8) couldn't were extra fulsome, even if. Leon Plantinga {Schumann as Critic (New Haven 1967), 196—218) explores Schumann's response to the virtuoso 'cult'. three See Robert Wangermee, 'Tradition et innovation dans los angeles virtuosite romantique\ Acta musicologica forty two (1970), 5-32. four See Janet Ritterman, 'Piano song and the general public live performance, 1800—1850', in Samson (ed. ), Cambridge better half, 11—31 and 296—301. five For dialogue see Dahlhaus, Nineteenth-Century track, 140—2; additionally, Amster, Virtuosenkonzert, and Fraczkiewicz, 'Koncerty'. common histories of the concerto seem in Engel, Instrumentalkonzert; Robert Lay ton (ed. ),^4 spouse to the Concerto (London 1988); Roeder, background, and Schering, Geschichte. 6 Tovey observes that the concerto's major objective isn't really soloistic show, however the construction of a discussion among competing elements ('The classical concerto', m Essays, 6—14). 7 Stevens ('Theme') lines the evolution of theoretical concerto types. See additionally Scott L. Balthazar, 'Intellectual heritage and ideas of the concerto: a few parallels from 1750 to 1850', magazine of the yankee Musicological Society 36 (1983), 39-72. eight Stevens,'Theme', 47,48. nine For elaboration see Samson, 4 Ballades, grasp Musicians and track of Chopin. 10 Chominski, Chopin, fifty nine. All translations are mine until in a different way indicated. 108 Notes to pages 3-13 eleven See Dahlhaus, Nineteenth-Century tune, 125-34, and Gerhard, 'Ballade', 117-19 and 121-5. 12 Julian Rushton, Classical tune (London 1986), 171. Sachs ('London', 207) explores 'the leader distinction among the aria and concerto cults'. thirteen For summaries of Chopin's Warsaw years, see Chomiriski, Chopin; Kobylahska, Chopin; and Tomaszewski and Weber, Chopin. 14 Amster, Virtuosenkonzert. 15 See Rink, 'Evolution', 63-4, and 'Tonal architecture', 307-8 n. 22. sixteen Chominski (Chopin, 9—17) and Smialek (Dobrzynski, 12—22) define early nineteenth-century Polish historical past. 17 For extra information regarding track on hand in early nineteenth-century Warsaw, see Smialek, Dobrzynski, sixteen, and Maria Prokopowicz, 'Musique imprimee a Varsovie en 1800-1830', in Lissa (ed. ), booklet, 593-7. 18 Kobylanska (Chopin, 151-9 and 207-13) presents info of virtuoso live shows in Warsaw from 1827 to 1830. 19 Eigeldinger ('Placing Chopin') investigates Chopin's eighteenth-century aesthetic orientation. 20 See Eigeldinger, Chopin: Pianist. 21 See Chominski, Chopin, 32ff.

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