The A flat Waltz is a very subtle and sophisticated work that conjures an echo of things past, an echo of his native Poland, an echo of mazurkas. It is known as the Farewell Waltz, written as a parting gift for Maria Wodzinska, to whom Chopin was once engaged and to whom the manuscript was given in It seems mesmerized by its own beauty, as if unable to part with its theme, which returns over and over.
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There are two slightly different versions of this Waltz, which are published in some editions back to back two versions exists also for both Waltzes Op. The Waltz in B minor has no contrasting middle section — in spite of a change from minor to major, the nostalgic mood remains unchanged. They were written in , , and respectively. The Waltz in G flat lacks any repeat signs and is quite short because of that.
The Waltz in F minor brings us back to Poland in a subtle and understated way; Chopin was a master of understatement and allusion. The Waltz in D flat is a charming, innocent, and unpretentious work written when Chopin was just 19 years old.
The last Waltz, Op. It is a brilliant and worthy conclusion to the set of Waltzes, the completion of the arch that begins with the very first Waltz in E flat major, which opens the set. There are three Impromptus and one Fantasie-Impromptu, making a set of four. As its name suggests, an impromptu is a work that is improvised, something that comes about spontaneously on the spur of the moment. Chopin like Mozart, Beethoven, and Liszt was a master of improvisation; by many reliable accounts he could improvise with ease for a long time.
The process of writing down his improvised works and making the text final was not easy for him, however. There is thus a certain ambiguity concerning the final authentic text. To add to the uncertainty, Chopin himself wrote different, sometimes contradictory, markings dynamics, fingerings, ornamentation on the scores of his students. Obviously he was very flexible and fluid with regard to the interpretation of his music. Impromptu No. It opens without any hesitation, with a fluid figure of running triplets that is repeated twice. This formula is extended and elaborated further and further, spinning around in a circle that does not want to be broken.
The whole process is effortless and stylish. The middle episode is reminiscent of a nocturne with a single theme that is repeated in different ways ten! The main episode returns through a sequence of trills and repeats itself literally. A short coda puts this Impromptu to peaceful rest. It opens with a singing four bar sequence in the left hand that sounds like a lullaby.
Waltz in E minor Op. Posth.
The melody enters on top and we have a real duo — the left hand keeps repeating the opening formula and the melody soars freely over this steady background. There is a middle episode with a syncopated rhythm that brings with it some unexpected heroic overtones. The extended reprise is a marvel; the main theme returns in F major instead of the tonic key of F sharp — a very unusual and quite radical move flawlessly executed by Chopin. There is a seamless transition to the tonic key; a marvelous and flamboyant episode quite challenging technically follows, filled with scales running up and down on top and the melody in the left hand.
This Impromptu ends with the tune that appeared first at the end of exposition. Two chords fortissimo end this amazing work. The Impromptu No. The tempo indication is allegro vivace fast , which is a bit odd because of the density of the texture. The middle section is a reversed nocturne — the theme is in the bass and the accompaniment is in the right hand.
Frédéric Chopin - IMDb
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- Waltz for piano in E minor, KK… | Details | AllMusic.
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