Frédéric Chopin (1810-1849) Piano Sonatas 2,3, Barcarolle & Polonaise by György Sebök 🎧 Qobuz bit.ly/3wqlJXJ Deezer bit.ly/3H4ap8A 🎧 Amazon Music amzn.to/3HvHQSW Tidal bit.ly/3kvy1Lu 🎧 Spotify spoti.fi/3DeFVPX Apple Music apple.co/40qVePx 🎧 RU-vid Music bit.ly/3wLHZLT SoundCloud bit.ly/3H381Pj 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … 00:00 Sonata No. 2 in B flat minor, Op. 35: I. Grave - Doppio movimento 07:15 Sonata No. 2 in B flat minor, Op. 35: II. Scherzo 13:17 Sonata No. 2 in B flat minor, Op. 35: III. Marche funebre - Lento 22:30 Sonata No. 2 in B flat minor, Op. 35: IV. Finale - Presto 23:59 Sonata No. 3 in B minor, Op. 58: I. Allegro maestoso 33:06 Sonata No. 3 in B minor, Op. 58: II. Scherzo - Molto vivace 35:50 Sonata No. 3 in B minor, Op. 58: III. Largo 43:08 Sonata No. 3 in B minor, Op. 58: IV. Finale - Presto, ma non tanto Polonaise in A Major, Op. 40 No. 1 "Military" ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-QjZIsMkA9HY.html Barcarolle in F sharp Major, Op. 60 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--xze6oYQVuM.html Piano: György Sebök Recorded in 1956-63 New mastering in 2022 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Following the extraordinary efflorescence of the sonata in the hands of Mozart, Haydn, Beethoven and Schubert, later composers such as Schumann, Brahms, Liszt and Chopin all found themselves struggling to give a new sense of direction to so prestigious a genre. It was a challenge to which they rose with alacrity and in various different ways. Chopin's sonatas, for example, reveal a desire for innovation and, in particular, a wish to make the structure of the work seem more spontaneous and less predictable. Unlike the B minor Sonata op. 58, which was written within a matter of months between August and December 1844, the far more complex B flat minor Sonata op. 35 occupied the composer over a period of several years. It was in 1837 that he first wrote what was to become the sonata's celebrated third movement. Recent analyses have shown how this Funeral March forms the poetic and thematic heart of the piece as a whole: although it was not until 1839 that Chopin began work on the other three movements, all of them bear more or less clear signs of the poetical imprint of the Funeral March. The first two movements rest upon violent contrasts, with the breathless, aggressive tone of the opening movement's first subject and the first section of the Scherzo offset by the intense lyricism of the first movement's second subject and the Trio. After the dramatic tension of the first two movements and the desolation of the third, the final movement brings the work to an end in an altogether surprising manner, the daring progressions of its ghostlike harmonies prompting Robert Schumann to declare it "songless". Its radical musical language inevitably elicited hostile reactions on the part of other writers, too. Chopin's final B minor Sonata could hardly be more different. Made up of a mosaic of interrelated motifs, the opening movement attests to the composer's interest in polyphony - notably that of Johann Sebastian Bach - and to his study of counterpoint as set forth in the treatises of Cherubini and Jean-Georges Kastner. The two middle movements are less complex in character. As in the B flat minor Sonata, the Scherzo is in second position. The highly contrapuntal writing of the Trio contrasts with the virtuoso ascending runs of the first part of the Scherzo. The third movement has often been compared stylistically to the nocturnes, although its dotted rhythms are closer in character to those of a marcia funebre, albeit breathing a different spirit and suggesting, rather, the Trio of a distant funeral march. The sonata ends with an energetic and virtuoso Presto in rondo form. As in the other three movements, semitone intervals play an important role in structuring the thematic material. Pace Chopin's critics, the sonata's impressive dimensions and the astonishing interweaving of its various elements demonstrate beyond doubt the composer's mastery of large-scale form. Of the sixteen polonaises that Chopin wrote between 1817 and 1846, only seven were published during his lifetime. From its very first bars, the Polonaise in A major op. 40 no. 1 (published conjointly with the Polonaise in C minor op. 40 no. 2) leaves its listeners in no doubt as to its martial manner. Although, a genre, the barcarolle derives from a type song sung by Venetian gondoliers, in the lands of Romantic composers such as Mendelssohn and Schubert it became a pretext for melancholic and sentimental works. Unlike other examples of the genre, Chopin's Barcarolle in F sharp major op. 60 of 1845/46 is written in 12/8-time, rather than the usual 6/8, and is based on two themes, the first a songlike melody involving thirds and sixths with a characteristic rhythm comprising three quavers and two semiquavers followed by two more quavers, the second more repetitive, with a quaver-crotchet accompaniment. It culminates in a brief recapitulation and final coda that draw on the two thematic elements heard earlier. A masterpiece of the keyboard repertory, it figured in the programme that Chopin gave at his final concert in Paris in 1848. According to one of his pupils, "he performed the whole of the final section of his Barcarolle in a way that differed radically from that of the printed dynamic markings; from the return of the main theme onwards he played everything pianissimo but with such subtle nuances that one was left wondering whether this new version was preferable to the older one. Only Chopin could have brought off such a feat!" Frédéric François Chopin PLAYLIST (reference recordings): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-C1L2ikNz2RM.html
Sebók once mentioned that each time the New York Philharmonic passed him over in favor of another pianist, part of him died. We all knew he was twice the artist most of them were. It confirmed for me the maxim that excellence and career profile have nothing to do with one another. In fact, the most interesting musical work is often done by people coming out of nowhere.
Following the extraordinary efflorescence of the sonata in the hands of Mozart, Haydn, Beethoven and Schubert, later composers such as Schumann, Brahms, Liszt and Chopin all found themselves struggling to give a new sense of direction to so prestigious a genre. It was a challenge to which they rose with alacrity and in various different ways. Chopin's sonatas, for example, reveal a desire for innovation and, in particular, a wish to make the structure of the work seem more spontaneous and less predictable. Unlike the B minor Sonata op. 58, which was written within a matter of months between August and December 1844, the far more complex B flat minor Sonata op. 35 occupied the composer over a period of several years. It was in 1837 that he first wrote what was to become the sonata's celebrated third movement. Recent analyses have shown how this Funeral March forms the poetic and thematic heart of the piece as a whole: although it was not until 1839 that Chopin began work on the other three movements, all of them bear more or less clear signs of the poetical imprint of the Funeral March. The first two movements rest upon violent contrasts, with the breathless, aggressive tone of the opening movement's first subject and the first section of the Scherzo offset by the intense lyricism of the first movement's second subject and the Trio. After the dramatic tension of the first two movements and the desolation of the third, the final movement brings the work to an end in an altogether surprising manner, the daring progressions of its ghostlike harmonies prompting Robert Schumann to declare it "songless". Its radical musical language inevitably elicited hostile reactions on the part of other writers, too. Chopin's final B minor Sonata could hardly be more different. Made up of a mosaic of interrelated motifs, the opening movement attests to the composer's interest in polyphony - notably that of Johann Sebastian Bach - and to his study of counterpoint as set forth in the treatises of Cherubini and Jean-Georges Kastner. The two middle movements are less complex in character. As in the B flat minor Sonata, the Scherzo is in second position. The highly contrapuntal writing of the Trio contrasts with the virtuoso ascending runs of the first part of the Scherzo. The third movement has often been compared stylistically to the nocturnes, although its dotted rhythms are closer in character to those of a marcia funebre, albeit breathing a different spirit and suggesting, rather, the Trio of a distant funeral march. The sonata ends with an energetic and virtuoso Presto in rondo form. As in the other three movements, semitone intervals play an important role in structuring the thematic material. Pace Chopin's critics, the sonata's impressive dimensions and the astonishing interweaving of its various elements demonstrate beyond doubt the composer's mastery of large-scale form. Of the sixteen polonaises that Chopin wrote between 1817 and 1846, only seven were published during his lifetime. From its very first bars, the Polonaise in A major op. 40 no. 1 (published conjointly with the Polonaise in C minor op. 40 no. 2) leaves its listeners in no doubt as to its martial manner. Although, a genre, the barcarolle derives from a type song sung by Venetian gondoliers, in the lands of Romantic composers such as Mendelssohn and Schubert it became a pretext for melancholic and sentimental works. Unlike other examples of the genre, Chopin's Barcarolle in F sharp major op. 60 of 1845/46 is written in 12/8-time, rather than the usual 6/8, and is based on two themes, the first a songlike melody involving thirds and sixths with a characteristic rhythm comprising three quavers and two semiquavers followed by two more quavers, the second more repetitive, with a quaver-crotchet accompaniment. It culminates in a brief recapitulation and final coda that draw on the two thematic elements heard earlier. A masterpiece of the keyboard repertory, it figured in the programme that Chopin gave at his final concert in Paris in 1848. According to one of his pupils, "he performed the whole of the final section of his Barcarolle in a way that differed radically from that of the printed dynamic markings; from the return of the main theme onwards he played everything pianissimo but with such subtle nuances that one was left wondering whether this new version was preferable to the older one. Only Chopin could have brought off such a feat!" 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
An absolutely unique emphasis on the role of the canon in the group of the main theme of the first movement of the third sonata. From this point on I began to listen to this interpretation in utmost concentration.
Whoever wrote this wordy nonsense apparently understands nothing about the Third Sonata which is infinitely more complex than the Second. And is one of Chopin's most motivically unified compositions.
Einzigartige doch wunderschöne Interpretation dieser vier romantischen und fein oder perfekt komponierten Klavierwerke in verschiedenen Tempi mit klar artikuliertem doch warmherzigem Anschlag und mit künstlerisch kontrollierter Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als Originalaufnahmen von 1956-63. Wahrhaft hörenswert!
Nunca tinha ouvido falar o pianista György Sebök, ja vi que não é qualquer um interpretando as duas sonatas para piano do compositor polonêz Fredérik Françoise Chopin. maravilha!, obrigado por postar tão importante trabalho musical.
