Piano Sonata No.2 In B Flat Minor, Op.35: 3. Marche funèbre (Lento) - 1984 Recording
Frédéric François Chopin (1 March 1810 – 17 October 1849) was a Polish comp… Read Full Bio ↴Frédéric François Chopin (1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic era who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation."
Chopin was born Fryderyk Franciszek Chopin in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafter—in the last 18 years of his life—he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his other musical contemporaries (including Robert Schumann). In 1835, Chopin obtained French citizenship. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Amantine Dupin (known by her pen name, George Sand). A brief and unhappy visit to Majorca with Sand in 1838–39 would prove one of his most productive periods of composition. In his final years, he was supported financially by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. For most of his life, Chopin was in poor health. He died in Paris in 1849 at the age of 39, probably of pericarditis aggravated by tuberculosis.
All of Chopin's compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument: his own performances were noted for their nuance and sensitivity. Chopin invented the concept of the instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of J.S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period.
Chopin's music, his status as one of music's earliest superstars, his (indirect) association with political insurrection, his high-profile love-life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity.
Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; as J. Barrie Jones puts it, "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
Chopin was born Fryderyk Franciszek Chopin in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafter—in the last 18 years of his life—he gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt and was admired by many of his other musical contemporaries (including Robert Schumann). In 1835, Chopin obtained French citizenship. After a failed engagement to Maria Wodzińska from 1836 to 1837, he maintained an often troubled relationship with the French writer Amantine Dupin (known by her pen name, George Sand). A brief and unhappy visit to Majorca with Sand in 1838–39 would prove one of his most productive periods of composition. In his final years, he was supported financially by his admirer Jane Stirling, who also arranged for him to visit Scotland in 1848. For most of his life, Chopin was in poor health. He died in Paris in 1849 at the age of 39, probably of pericarditis aggravated by tuberculosis.
All of Chopin's compositions include the piano. Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument: his own performances were noted for their nuance and sensitivity. Chopin invented the concept of the instrumental ballade. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, études, impromptus, scherzos, preludes and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of J.S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest. His innovations in style, harmony, and musical form, and his association of music with nationalism, were influential throughout and after the late Romantic period.
Chopin's music, his status as one of music's earliest superstars, his (indirect) association with political insurrection, his high-profile love-life, and his early death have made him a leading symbol of the Romantic era. His works remain popular, and he has been the subject of numerous films and biographies of varying historical fidelity.
Over 230 works of Chopin survive; some compositions from early childhood have been lost. All his known works involve the piano, and only a few range beyond solo piano music, as either piano concertos, songs or chamber music.
Chopin was educated in the tradition of Beethoven, Haydn, Mozart and Clementi; he used Clementi's piano method with his own students. He was also influenced by Hummel's development of virtuoso, yet Mozartian, piano technique. He cited Bach and Mozart as the two most important composers in shaping his musical outlook. Chopin's early works are in the style of the "brilliant" keyboard pieces of his era as exemplified by the works of Ignaz Moscheles, Friedrich Kalkbrenner, and others. Less direct in the earlier period are the influences of Polish folk music and of Italian opera. Much of what became his typical style of ornamentation (for example, his fioriture) is taken from singing. His melodic lines were increasingly reminiscent of the modes and features of the music of his native country, such as drones.
Chopin took the new salon genre of the nocturne, invented by the Irish composer John Field, to a deeper level of sophistication. He was the first to write ballades and scherzi as individual concert pieces. He essentially established a new genre with his own set of free-standing preludes (Op. 28, published 1839). He exploited the poetic potential of the concept of the concert étude, already being developed in the 1820s and 1830s by Liszt, Clementi and Moscheles, in his two sets of studies (Op. 10 published in 1833, Op. 25 in 1837).
Chopin also endowed popular dance forms with a greater range of melody and expression. Chopin's mazurkas, while originating in the traditional Polish dance (the mazurek), differed from the traditional variety in that they were written for the concert hall rather than the dance hall; as J. Barrie Jones puts it, "it was Chopin who put the mazurka on the European musical map." The series of seven polonaises published in his lifetime (another nine were published posthumously), beginning with the Op. 26 pair (published 1836), set a new standard for music in the form. His waltzes were also written specifically for the salon recital rather than the ballroom and are frequently at rather faster tempos than their dance-floor equivalents.
Piano Sonata No.2 In B Flat Minor Op.35: 3. Marche funèbre
Frédéric Chopin Lyrics
We have lyrics for these tracks by Frédéric Chopin:
Dwojaki koniec Rok się kochali a wiek się nie widzieli Zbolały serca oboje…
Gdzie lubi Strumyk lubi w dolinie Sarna lubi w gęstwinie Ptaszek lubi p…
Hulanka Szynkareczko szafareczko Co ty robisz stój Tam się śmiejesz …
Melodia Z gór gdzie dźwigali Strasznych krzyżów brzemię Widzieli z d…
Moja Pieszczotka Moja pieszczotka gdy w wesołej chwili Pocznie szczebiotać i …
Narzeczony Wiatr zaszumiał między krzewy Nie w czas nie w czas koniu Ni…
Nie Ma Czego Trzeba Mgła mi do oczu zawiewa z łona W prawo i w…
Nocturne My books lie unopened We’ve barely left a word unspoken Exp…
Nocturnes My books lie unopened We’ve barely left a word unspoken Exp…
Posel Rośnie trawka ziółko Zimne dni się mienią Ty wierna jaskółko…
Precz Z Moich Oczu Precz z moich oczu Posłucham od razu Precz z mego serca I se…
Sliczny Chlopiec Wzniosły smukły i młody O nielada urody Śliczny chłopiec cze…
Smutna Rzeka Rzeko z cudzoziemców strony Czemu nurt twój tak zmącony Czy …
Spiew Z Mogilki Leci liście z drzewa Co wyrosło wolne Znad mogiły śpiewa Jak…
Śpiew z mogiły Leci liście z drzewa Co wyrosło wolne Znad mogiły śpiewa Jak…
Wojak Rży mój gniady ziemię grzebie Puśćie czas już czas Ciebie oj…
Zyczenie Gdybym ja była słoneczkiem na niebie Nie świeciłabym jak tyl…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Arfa Rean Daneswara
One of the most beautiful pearls in the history of music.
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Piano Sonata No. 2 (Chopin)
From Wikipedia, the free encyclopedia
Frédéric Chopin composed his Piano Sonata No. 2 in B-flat minor, Op. 35 mainly in 1839 at Nohant near Chateauroux in France, although the third movement, which comprises the funeral march had been composed as early as 1837.
The sonata consists of four movements.
1. Grave; Doppio movimento
2. Scherzo
3. Marche funèbre: Lento
4. Finale: Presto
The first movement features a stormy opening theme and a gently lyrical second theme. The second movement is a virtuoso scherzo with a more relaxed melodic central section. The third movement begins and ends with the celebrated funeral march in B flat minor which gives the sonata its nickname, but has a calm interlude in D flat major. The finale contains a whirlwind of unison notes with unremitting (not a single rest or chord until the final bars) unvarying tempo or dynamics (changes of volume); James Huneker, in his introduction to the American version of Mikuli edition of the Sonatas, quotes Chopin as saying "The left hand unisono with the right hand are gossiping after the March". Others have remarked that the fourth movement is "wind howling around the gravestones".
The Sonata confused contemporary critics who found it lacked cohesion. Robert Schumann suggested that Chopin had in this sonata "simply bound together four of his most unruly children." (See Schirmer's modern reprint of the Mikuli edition)
John Tudor
Classical pieces*
And there are, the pieces are simply more complex than to just "Blare from the Rooftops" :P
Going back in time, my recommendations for composers with full blast music are:
John Williams
Krysztof Penderecki
Alfred Schnittke
Dmitri Shostakovich (Especially Symphony 10, 2nd movement)
George Gershwin
Igor Stravinsky
Sergei Prokofiev
Maurice Ravel
Sergei Rachmaninov
Gustav Mahler
Richard Strauss
Niccolo Paganini
Richard Wagner
Guiseppe Verdi
Johannes Strauss
Pyotr Tchaikovsky
Modeste Mussorgski
Franz Liszt
Felix Mendelssohn
Fanny Mendelssohn
Franz Schubert
Ludwig van Beethoven (The fugue from Symphony no. 3, 2nd movement is absolutely heartbreaking)
Wolfgang Amadeus Mozart
Josef Haydn
Carl Philip Emmanuel Bach
Johann Christoph Bach
Georg Handel
Johann Sebastian Bach
Georg Philip Telemann
Antonio Vivaldi (Basically the Great-Great-Great-Great-Great-Grandaddy of all loud and dramatic music)
Arcangelo Corelli
Jean Baptiste Lully
Barbara Strozzi
and finally but certainly not least
Claudio Monteverdi
Andrea Dobetti
Premesso che..........
1. nessuno esegue come appare nel manoscritto (va indagata la partenità della dinamica e tipo abbellimenti del tutto inventati rispetto al dettato chopiniano!)
2. mordente (vedi manoscritto) NON è doppia acciaccatura
3. forse (e dico forse) omette il secondo Reb (altri arpeggiano, vedasi Argerich) a causa della distanza punta mignolo-polpastrello pollice inferiore al "minimo minimo richiesto" di 24 cm (!) - ma non vedo altra soluzione, forse le mani di Gianni Morandi riuscirebbero coprire tale distanza :)
4. viene colpevolmente omessa la terza nell'accordo finale (nel manoscritto c'è il reb)
5. l'unico arpeggio lo si faccia in battere, perché il levare???
6. il "rullo di grancassa" deve essere più piano rispetto al lacerto melodico (fa-mib-reb; reb-do-sib che si desidererebbe più perspicuo) e poi in originale c'è accento sulla cadenza d'inganno! (ma perché tutti snobbano il manoscritto??? non dovrebbe essere il riferimento per tutto il mondo??? non capirò mai questo!)
7. agogica: da epistole chopiniane (ma non sono in grado di inserire il riferimento per la verifica) prima parte = grave vs. trio = poco più mosso
8. dinamica secondo ritornello trio: no, qui non rispetta neppure l'indicazione a stampa (che curiosamente in questo caso concorda con l'originale), non sento < >
9. in un tempo lento (e forse dovrebbe esser ancora più lento; a proposito, Argerich evidentemente ha tanta fretta di seppellire il morto! Per compensare diventa sonnacchiosa nel trio dove omette il lungo cresc...così facendo appiattisce il messaggio dei DUE temi/parti del trio, rendendoli forieri dello STESSO messaggio emozionale, mah; non basta: applica la regola della compensazione: omette il lungo crescendo nel trio e lo recupera nella ripresa; smania di contraddire il compositore!) non si capisce perché il trillo debba essere quello standard dell'ottavino (64esimi) anziché 32esimi, un trillo misurato insomma
10. i sedicesimi sono assai differenti tra loro, arduo trovarne due identici; non so quanto coinvolgimento patemico aggiuntivo possa garantire tale libertà
11. meglio dei colleghi con FZ che non è F (FZ è sinonimo di MARCATO, marcato...ma sempre nel PIANO!). Insomma l'unico scoppio dinamico (apice) è - e DOVRA' SEMPRE essere - in corrispondenza - guarda caso - dell'accordo "zeppo di doppi bemolli": sicuramente settima artificiale di seconda specie sul VI ma un VI col terzo e sesto abbassati; però contemporaneamente (anzi, proprio GRAZIE alla settima!!!) è normalissima (!) settima di dominante di...MI DOPPIObemolle maggiore che, tramite modulazione cromatica (si considerino le enarmonie) genera cadenza evitata, ossia raggiunge direttamente la dominante della tonalità situata un semitono cromatico sotto: i pazzerelli dicono Mi TRIPLObemolle maggiore, gli accademici dicono Re bemolle maggiore (sono sinonimi): quindi una bella botta di modulazione brusca evidenziata dall'apice dinamico del brano.
Mi chiedo perché tutti confondano FZ con F (detto fra noi può esistere addirittura il marcato in pianissimo eh!). FZ è semplicemente una sigla che all'occhio appare più immediata ed evidente rispetto al sinonimo rappresentato dal simbolo ^ Infatti per risultare credibili gli esecutori sono costretti ad aggiungere un crescendo che PREPARI questa Effe!!!
12. occhio che la primissima acciaccatura è stata cancellata dal compositore (macchia nera per toglierla: chi l'ha reintrodotta?)
.......ottima esecuzione. No, il complimento dopo 12 premesse non deve apparire ironico, è convinto!! convinto al punto che Pollini riesce nel miracolo (Rubinstein ci riesce solo una volta su tre - tre anziché quattro perché omette un ritornello) di farmi apparire il bicordo solb-lab superconsonante (ebbene, l'ho detto!), in barba ai manuali di acustica! Ottimi arpeggi in PP, considerato che qui c'è sempre il rischio di far sentire il fa (cioè il secondo beat della battuta) più forte, causa capovolgimento mano sinistra o ripresa della mano a partire dal mignolo. Esecuzione molto ONESTA, mirabilmente ONESTA, senza i colpi di testa dei colleghi (ometto Michelangeli che con le SUE SUISSIME SUERRIME acciaccature OGNI OGNI battuta ha frantumato la pazienza, oltre ad aver umiliato il compositore, ritenendo evidentemente di poter migliorare l'idea originale: qualche volta posso accettare ste acciaccature aggiuntive in nome del languidume che siamo abituati a desiderare insito nel Romanticismo, ma ogni battuta diventa circense e fastidioso). In sintesi, questa esecuzione me la scarico per conservarla.
Shok.-
very meaningful song to me, it was my grandpas favorite and we just had his funeral yesterday and one of his old piano students played this.
dunkleosteus430
Some people would think it's weird for this to be somebody's favorite piece, but I also think this is a very beautiful piece, even the "dark" parts. This is also an important piece to me, because it got me into romantic-era piano.
My condolences for your grandfather.
giteart
I think Pollini's interpretation is one of the best for this sonata.....
rviolinfiddle55
Interesting. I'd say it was the worst.
dunkleosteus430
The beginning/end is different from what I'm used to(certainly still beautiful,) but I think his interpretation of the middle section is the best I've heard.
Roxanne T.T
A great piece performed by a great pianist.
Kam Mason
Pollini's interpretation of chopin is amazing to me,...th darkness with moments of lucid peace
Mashael
so beautiful<3 i wish I can find a 60 min version of it.
giteart
So inspiring, relaxing and sorrowful at the same time....
Tino Väinämöinen
I have played this as one of my two performances for my year 11 GCSE in Music and got an A*