Hardly any cycle of Piano pieces can match the magnetic attraction of Chopin?s ?24 Préludes? published in 1839. Schumann called them ?sketches beginnings of études [...] ruins stray eagle's pinions all disorder and wild confusion?.Christoph Flamm has critically reevaluated the sources bringing to light new readings of this well-known musical text. Hardy Rittner a hammerklavier specialist and two-time winner of the ECHO Classic prize who has recorded Brahms? Piano music and all of Chopin?s ?Études? on period pianofortes has supplemented Chopin?s fingering from a historically informed perspective. He also providesvaluable notes on performance practice especially with regard to pedalling rubato latent polyphony legato and Chopin?s perception of sound.An aesthetically presented engraving and practical page-turns make this current edition indispensable for today?s scholars and performers.Urtext edition with new readings.Notes on performance practice (Ger/Eng).With historically informed fingering and practical page-turns.Informative Foreword (Ger/Eng) and detailed Critical Commentary (Eng).

The Nocturne In E Minor Op. Post.72 No.1 was Frédéric Chopin?s first Nocturne to be written and his 19th to be published. The Nocturne was composed in 1827 and was published after Chopin?sdeath in 1855.In his book The Life and Death of Chopin Casimir Wierzyknski explains more about the history of the piece:?Up until then this form [the nocturne] had been the exclusive domain of John Field anIrish-born composer. But his Nocturne in E minor did not satisfy him [Chopin] and was published only posthumously.?This Henle Urtext Edition for solo Piano has been edited by Ewald Zimmermann and includes fingering byHans-Martin Theopold.

for Cello and Piano Violin Cello and Piano Flute and Piano-Chopin's works for piano and strings were usually made for a specific occasion and we owe their existence to the repertoire needs of specific individuals. The exception is the Sonata in G minor for cello the last work by the composer intended for publication a work reflecting his current style highly reflective the result of imagination encroaching into post-romantic areas. Chopin's chamber works belong to the regular concert repertoire. These works were edited by by I. J. Paderewski L. Bronarski and J. Turczy ski.Chopin's works for piano and strings were usually made for a specific occasion and we owe their existence to the repertoire needs of specific individuals. The exception is the Sonata in G minor for cello the last work by the composer intended for publication a work reflecting his current style highly reflective the result of imagination encroaching into post-romantic areas. Chopin's chamber works belong to the regular concert repertoire. These works were edited by by I. J. Paderewski L. Bronarski and J. Turczy ski.

Par CHOPIN FREDERIC. Le Ländler, danse populaire autrichienne et allemande, et le Menuet, en faveur dans les cours princières des XVIle et XVIlle siècles, sont à l'origine de la Valse. Elle connaît une grande vogue au XIXe siècle, notamment à Vienne. Frédéric Chopin, dont l'esprit et le goût sont assez éloignés de la conception viennoise de la Valse, ne demeure pas insensible à son rythme ternaire. De 1827 à 1847, il compose dix-neuf valses. Les premières sont 'brillantes', d'autres sont proches de la Mazurka ou sont imprégnées d'une rêveuse mélancolie. 'Comme ses précédentes, écrit Schumann à propos de la valse Opus 42, c'est un morceau de salon du plus grand air... elle est aristocratique des pieds à la tête..' D'une approche technique relativement aisée, les Valses de Chopin acquièrent rapidement une certaine popularité - cependant, leur interprétation n'est pas si facile qu'elle paraît. 'Un troisième temps accentué mal à propos, disait Franchomme, suffit pour dénaturer l'oeuvre poétique du Maître'. Chopin, lui-même, craignait que certaines oeuvres, divulguées par l'édition soient déformées par un 'jeu sentimentalisé'. / Niveau : Elémentaire / classique / Répertoire / Piano

(...) Ce titre est tiré d'un poème de Tal Coat qui fut non seulement un grand peintre mais également un poète. Le poème dit :
la ligne gravissant la chute,
ensevelie dans son ombre
dans le surgissement de l'arête, s'éclaire d'un bond.
(Tal Coat, Vers ce qui fut / est / ma raison profonde / de vivre,
éd. Françoise Simesek et Claude Ritschard,
Lausanne, 1985, p.14)
(...) Chopin se caractérise pour moi par l'intériorité réciproque des opposés : métrique et rythmique, figure et fond, détermination précise et suggestion indicible, raptus démonique et péroraison grandiose. La verticale s'abolit dans son ascension même. La forme n'est que genèse, la tension est portée aux limites. Chopin nous découvre un monde noir et abyssal, mais d'une opacité rayonnante . Dans cet Hommage à Chopin, le problème pianistique est le ressort de la pièce. J'ai recherché l'adéquation de la technique instrumentale au langage qui, d'ailleurs, se plie aux exigences de la main et aux impératifs de la motricité. La musique de Chopin est incandescente. Elle s'impose comme une coulée de lave. J'ai cherché dans cet Hommage, à retrouver le sens d'une forme qui s'invente chemin faisant, entre spirale et turbulence, tout en respectant l'unité de ton des classiques.
Hugues Dufourt / Partition /

'Altogether a sensitive and tasteful document.' ??? Library JournalA series of themed essays rather than a traditional biography this profile of the Polish composer and virtuoso pianist is the work of a legendaryconductor and performer. Alfred Cortot taught at the Paris Conservatory of Music co-founded the ??cole Normale de Musique de Paris and produced printed versions of the complete works of Chopin Schumann and Debussy. In theserevealing chronicles Cortot focuses on Chopin's compositions as well as his performances and personal relationships.Beginning with an account of the composer's physical characteristics the book examines Chopin's role asa teacher; his works as reflected by his correspondence; his identity as a Polish nationalist and his attitude toward France; and his concert performances. It further explores his friendships with Liszt and Delacroix and hisromance with George Sand as well as the composer's chronic illness and the expression of his tormented sensitive nature in his music.Reprint of the Peter Nevill Limited London 1951 edition.

10 Waltzes And Nocturnes. Par CHOPIN FREDERIC. World-renowned flutist, Robert Stallman says, 'Chopin transports us into a realm of mystery, of peace, and celestial beauty.' Robert Stallman has long made it his mission to expand the flute repertoire with apt transcriptions, gratifying flutists everywhere, and has emerged as the preeminent editor and arranger of flute music active today. Stallman's The Romantic Flutist draws from Chopin's piano music in a unique compilation of Waltzes and Nocturnes arranged for flute and piano./ Répertoire / Flûte Traversière et Piano

Collection of 8 pieces by Frederic Chopin. Par CHOPIN FREDERIC. Collection Of 8 Pieces By Frederic Chopin / Niveau : 2 / Classique / Répertoire / Jeune Orchestre de Vents et ou Cordes ou Ensemble

Oparte s na formie repryzowej. rodkowy odcinek charakteryzuje si wstrzymaniem ruchu i wylewn piewno ci . Jednak równie cz ci skrajne przy ca ej ruchliwo ci snuj d ugooddechow arabesk ze spokojem wynikaj cym z równomierno ci ko ysania i abstrakcyjnej taneczno ci. wiat brzmieniowy impromptus jest „ wietlisty” poddany eufonii i eurytmii.Wydanie ród owo-krytyczne zredagowane przez Jana Ekiera i Paw a Kami skiego na podstawie r kopisów kopii zatwierdzonych przez samego Chopina i pierwszych wyda . Jego celem jest przedstawienie twórczo ci Chopina w autentycznym kszta cie.

9 Pieces by Frederic Chopin-Nine Pieces by Frédéric Chopin for Piano Solo. Our piano solo collection contains nine Chopin pieces featured in Roman Polanski's Oscar-winning film adapted from the autobiography of composer and pianist Wladyslaw Szpilman a Polish Jew who detailed his survival during World War II. Pieces include: Andante spianato Op. 22 · Ballade No. 1 in G Minor Op. 23 · Ballade No. 2 in F Major Op. 38 · Mazurka in A Minor Op. 17 No. 4 · Nocturne in C-sharp Minor (1830) · Nocturne in C Minor Op. 48 No. 1 · Nocturne in E Minor Op. 72 No. 1 · Prélude in E Minor Op. 28 No. 4 · Waltz No. 3 in A Minor Op. 34 No. 2.

If I Were... by Serge Lancen is a set of easy works for Flute and Piano. Each piece was written as if the author were impersonating a famous composer and this book includes those inspired by Schubert Chopin and Grieg. Written for upper beginners / intermediate level players these works can all be interpreted separately. - N. 10 'If I were Schubert' has a slow tempo starts Allegro Moderato and lasts 1''10 - N.11 'If I were Chopin' is slower than the first piece in Moderato and uses Chopin''s musical style . Ithas an introduction and twodistinctive parts - N.12 'If I were Grieg' is starts with the piano at atempo 84. The introduction is followed by a main theme which is repeated before an harmonious close If I Were... can also be found with pieces inspired by Offenbach Beethoven or Albeniz among others. Serge Lancen is a French musician and composer. He wrote numerous pieces including chamber music orchestral works for solo instruments and for voice. He won many radio prizes and received a Prix de Rome.

When Chopin left with George Sand for his oft-cited winter sojourn on Mallorca in autumn 1838 he also took his second ballade with him which was not yet finished. Chopin's health and other unfavourable circumstances hadinterfered with his work on the composition; he only completed it in winter 1839. (Also published is a facsimile of the wonderful autograph; Cat. No. HN3212.) The printing process was also delayed - not least because of thecomposer's considerable financial demands. Following his emigration from Warsaw and his full acceptance into Parisian musical circles Chopin was apparently aware of the value of his music. Now presented in a single Urtextedition this work dedicated to Robert Schumann has been taken from the recently revised edition of the 'Ballades'.

The mazurka was Chopin's companion throughout his entire artistic life: He wrote the Mazurka in A minor Op. 68 at the age of seventeen and even his very last composition was dedicated to this Polish dance form. 'Chopin unleashed the unknown poetry which was only suggested in the original themes of the true national mazurkas. Maintaining their rhythm he refined the melody expanded the proportions and introduced a harmonic contrast that was as new as the objects to which he adjusted it…' (F. Liszt). Of the total of 58 mazurkas by Chopin this edition provides a selection of the better known and easier pieces for lessons and music lovers.

Les musicologues s?arrachent les cheveux à propos de l?unique fantaisie composée par Chopin. Sa forme hautement singulière constitue un mystère pour tous ceux qui se servent volontiers de formes traditionnelles. S?agit-il d?un mouvement de sonate d?un rondo ou alors de mouvements de caractère librement combinés comme la marche le récitatif et le choral? Les amateurs de Chopin ne s?en soucient guère car personne ne remet en cause le fait que la fantaisie est l?une des ?uvres les plus extraordinaires qu?il ait jamais écrites. «Le ciel est gai mais la tristesse étreint mon c?ur» ce sont les mots de Chopin après en avoir achevé la composition. De fait la fantaisie estentièrement imprégnée de ces déchirements intérieurs. Une ?uvre extraordinaire à tous points de vue idéalement mise en valeur dans l?édition séparée réalisée sur la base de l?édition urtext infaillible de Henle.