Par CHOPIN FREDERIC. Les musiques de Nuit instrumentales du XVIIIo siècle, destinées à être jouées en plein air, sont à l'origine du Nocturne. Mozart et Haydn ont composé des 'Notturni' pour divers ensembles. Cependant, John Field est considéré comme le créateur du Nocturne pour piano. Chopin le tenait en grande estime et faisait souvent travailler à ses élèves les Nocturnes de ce pianiste et compositeur irlandais au même titre que les siens pour qu'ils se familiarisent avec le 'legato' et qu'ils acquièrent un beau son. Frédéric Chopin compose 21 Nocturnes. L année de composition de chaque Nocturne ne peut pas toujours être certifiée avec précision mais celle de leur publication est une référence exacte. Trois Nocturnes ont été édités après sa mort. Chopin a l'âme romantique et la musique de ses Nocturnes en exprime les états. L'ambiance crépusculaire est en effet propice aux tendres épanchements, à la mélancolie, aux improvisations poétiques et musicales, comme le dialogue de la Muse et du Poète dans la 'Nuit de Mai' d'Alfred de Musset. Tout en conservant une forme classique (forme Lied A.B.A. généralement), Chopin s'éloigne de la romance et sublimise le Nocturne par son inspiration et son sens pianistique: la mélodie, influencée par le 'bel canto' italien est plus ample et se développe en variations ornementales expressives, souvent chromatiques, l'harmonie est plus raffinée et plus audacieuse par ses dissonances et les dessins d'accompagnement de la basse en forme d'arpèges ou d'accords prisés sont plus ingénieux. Les Nocturnes de Chopin ont beaucoup contribué à sa célébrité et, malgré les difficultés techniques de certains, ils apparaissent comme une bonne introduction à la connaissance et à l'étude de ses autres oeuvres. Nouvelle Edition revue et corrigée (1993) sous la direction de Dominique Geoffroy. / Niveau : Intermédiaire / classique / Répertoire / Piano

The genesis of Chopin's Polonaise Brillante Op. 22 leads back to his youth in Warsaw and the years of his first trips as a virtuoso. Designed as a concert piece with Orchestra it takes up a special position among the polonaise compositions of Chopin. However by tradition the work has always been performed as an extremely effective solo piece. Since no autograph has survived the various first prints are used as sources. Comparisons show that the English first edition must have been based on the autograph manuscript of Chopin. The present new edition therefore rates this English edition more highly than usual.Thus numerous discrepancies and omissions in the French definitive edition which generally is regarded as the most important source can be clarified and complemented. The notes on interpretation not only explain the relatively rare term 'spianato' but also provide information on Chopin's way of playing trills and appoggiaturas as well as on Chopin's tempo rubato. For that sources from the vicinity of the composer such as messages from his pupil Karol Mikuli are evaluated.

Historical Version-Characterised by an extensive in terms of Chopin's concert pieces orchestral part. The melody here is less ornamented and more fluid the sketch of the cantilena very noble and clear the highly virtuosic element is exposed but not to the extent of overwhelming the logic of the design. Critical source-edition edited by Jan Ekier and Pawe Kami ski based on manuscripts copies approved by Chopin himself and first editions. Its purpose is to present the works of Chopin in authentic form. The present score is composed of parts from the first edition. The concert version of the score recreated by taking into consideration also other sources which present Chopin`s intention constitutes volume 33 B VIIIa. The Concerto in an authentic arrangement for one piano makes up volume 13 A XIIIa. The version with the second piano containing the reduction of the orchestra part forms volume 30 B VIa. The historical scores are purer with regard to editorial interference yet contaminated by the involvement in the sources of foreign hands. The historical scores show that which for various reasons Chopin agreed to have published.

Par CHOPIN FREDERIC. In 1845/46 Chopin composed his bel canto inspired “Barcarolle” in F-sharp major op. 60, which became a model for subsequent generations of composers. In his evaluation of the divergent and partly even contradictory sources – due to the different engraving models (Stichvorlagen) for the first editions published almost simultaneously in Paris, London, and Leipzig – the editor obtains new results and readings, especially regarding problematic passages. Chopin’s pedal indications from the other sources, which differ from the main source, are added in small print. Information on this is provided in the Critical Commentary, which also documents the numerous variants of the sources and editorial decisions. An informative preface (Ger/Eng) discusses the genesis of the work and Chopin’s specific understanding of the final shape of his works. Hardy Rittner supplements Chopin’s fingering from a historically informed perspective. He gives in-depth advice on central questions of performance practice (including cantilena style, rubato and pedal use) and discusses different interpretational approaches (Ger/Eng). Practical page turns (with fold-out page) and a reader-friendly engraving round off this new edition./ Répertoire / Piano

Edité d'après l'autograph et les premièes éditions par Bernhard Hansen. Doigtés de Jörg Demus. Par CHOPIN FREDERIC. Les 24 Préludes de Frédéric Chopin virent le jour successivement entre 1836 et 1839 ; presque à l'image du Clavier bien tempéré de Bach, ils furent réunis en un cycle dans la copie au net de 1839. Contrairement à Bach, les Préludes ne sont pas suivis de fugues chez Chopin, les Préludes en soi sont devenus des pièces de caractère romantiques déployant toute une palette d'atmosphères de nature différente. Les plus simples techniquement de ces miniatures conviennent parfaitement pour s'initier au jeu de Chopin, d'autant qu'elles incluent le morceau du cycle peut-être le plus célèbre, le dénommé Prélude dénommé ' La Goutte de pluie '. La sélection présente de la Wiener Urtext Edition est agencée en conséquence afin de permettre aux élèves comme aux mélomanes un accès inspirant à l'univers sonore de Chopin. / Date parution : 2021-11-25/ Recueil / Piano

as Narrative of National Martyrdom-Chopin's Second Ballade Op. 38 is frequently performed and takes only seven or so minutes to play. Yet the work remains very poorly understood—disagreement prevails on issues from its tonic and two-key structure to its posited relationship with the poems of Adam Mickiewicz. Chopin's Polish Ballade is a reexamination and close analysis of this famous work revealing the Ballade as a piece with a powerful political story to tell. Through the general musical styles and specific references in the Ballade which use both operatic strategies and approaches developed in programmatic piano pieces for amateurs author Jonathan Bellman traces aclear narrative thread to contemporary French operas. His careful historical exegesis of previously ignored musical and cultural contexts brings to light a host of new insights about this remarkable piece which as Bellman shows reflects the cultural preoccupations of the Polish émigrés in mid-1830s Paris pining with bitter nostalgia for a homeland now under Russian domination.This vital connection to the extramusical culture of its day forms the basis for a plausible relationship with the nationalistic poetry of Mickiewicz. Chopin's Polish Ballade also solves the long-standing conundrum of the two extant versions of the Ballade making an important point about the flexible notion of 'work' that Chopin embraced.

Par CHOPIN FREDERIC. Chopin’s four ballades, four impromptus and three sonatas are among the composer’s most mature works, rivalled only by his scherzos and polonaises for extended thematic development and formal structure. The eleven compositions in this volume are drawn from Carl Mikuli’s comprehensive edition of Chopin’s complete works for piano. As Chopin’s student and, later, teaching assistant, Mikuli was in a privileged position to reflect on the master’s approach to keyboard performance. The works contained in this volume are complete./ Répertoire / Piano

Nicknamed the ?Black Key Étude? Frédéric Chopin?s Etude In G Flat Major Op. 10 No. 5 is one of his most popular. It has been a common repertoire piece for pianists since Chopin?s time and hasinspired numerous exercises arrangements and paraphrases.The etude was composed in 1830 and published for the first time in 1833 in France Germany and England as the fifth piece of Chopin?s Études Op. 10. Despiteits enduring popularity Chopin himself did not believe the study to be one of his most interesting. In a letter to his pianist friend and musical executor Julian Fontana he commented on Clara Wieck?sperformance:'Did Wieck play my Etude well? How could she have chosen precisely this Etude the least interesting for those who do not know that it is intended for the black keys instead of something better! It wouldhave been better to remain silent.'This Henle Urtext Edition for solo Piano has been edited by Ewald Zimmermann and includes fingering by Hermann Keller.

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.

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

La vision multiculturelle de A, Mashayekhi est fondée sur une large variété d'approches, Dans cette oeuvre, il utilise des citations issues de sa propre musique ou de pièces de F, Chopin, modifiant parfois la musique de ce dernier avec des réminiscences de ses oeuvres personnelles et vice versa, Avec Chopin commence par des arpèges atonaux d'où se dégage la Valse en la mineur de Chopin, toutefois écrite dans le style de A, Mashayekhi, qui évolue alors vers les accords conclusifs de la pièce, Dans cette pièce nous entendons des phrases issues des Valses en la mineur, mi mineur et de la Balade en ut mineur de F, Chopin, Les compositions de A, Mashayekhi citées sont : Sonate I, Kristall I et Etude No15, / Piano

Chopin Gold (CD Edition)-The new CD edition of The Easy Piano Collection: Chopin Gold features a fine selection of the most famous masterpieces by Frederic Chopin. Every piece has been composed for or arranged for easy Piano and allaccompanied by high quality demonstration performances on a specially commissioned music CD.Learning to play these classic compositions has never been easier to do.These books use the same notation as CarolBarratt’s Classic Piano Course and are presented in a brand new easy-to-read style complete with fingerings and detailed composer biographies.Suitable for pianists between Grade 1-3 standard.