Fuck Yeah Classical

zveneczi:

Fryderyk Franciszek Chopin (1810-1849): Piano Concerto in E minor, Op. 11 - I. Allegro maestoso

Dang Thai Son, Orchestra of the Eighteenth Century, Frans Brüggen

22 September 1830. Warszawa Rehearsal of the E minor Concerto (Second concerto) – ‘with complete orchestra, except trumpets and kettle drums’. Present are Elsner and Kurpiński, Soliva, and all the musical élite: Czapek, Kessler, Dobrzyński, Molsdorf, Kaczyński, Sołtyk, Le Doux. In the eyes of Chopin: the Adagio (Romance) cannot count on a particularly great success (without the mutes ‘it would fall flat’), although the ‘Rondo effective, Allegro strong’. In another letter to Woyciechowski he explains why he ‘still stays’: the problem concerns the ‘disturbances that are taking place across the whole of Germany’. Discounting the Rhineland provinces, the Saxons, who already have a different king, Brunswick, Kassel, Darmstadt, etc., it was said that in Vienna, too, a couple of thousand people had begun to revolt because of torture. […] In the Tyrol they have also protested. Italy is simply seething. […] I have not yet applied for a passport, but people are maintaining that I would not receive one, only for Austria and Prussia, and forget about Italy and France’. He therefore intends to set off ‘doubtless within the next few weeks via Cracow to Vienna’, all the more so since there they have ‘once more refreshed their memories’ about him. He observes the progress in the career of Konstancja Gładkowska: on Sunday (26) she was to sing Ninette in La Gazza ladra, under the direction of Kurpiński.

(via The Fryderyk Chopin Institute)

(The whole concerto)

zveneczi:

Chopin-Sharp Minor

A Mazurka, a Polonaise and a Waltz in C-sharp minor.

Kocsis Zoltán - piano (18.8.2010)

Fryderyk Franciszek Chopin (1810-1849)

Mazurka in C-Sharp Minor, Op. 6 No. 2 (1830)
Polonaise in C-Sharp Minor, Op. 26 No. 1 (1835)
Waltz in C-Sharp Minor, Op. 64 No. 2 (1847)

somebody-else:

Étude No. 3 in E major, Op. 10 - Frédéric Chopin.

walrusgumboot:

Prelude in E minor, Op. 28 No. 4, “Suffocation” - Frederic Chopin

I love filling a quiet room with this song.

lukemollan:

Frédéric Chopin - Fantaisie-Impromptu - Op.posth.66 - in C#m

zveneczi:

Fryderyk Franciszek Chopin (1810-1849): Piano Concerto in E minor, Op. 11 - III. Rondo. Vivace (1830)

Dang Thai Son, Orchestra of the Eighteenth Century, Frans Brüggen

11 October 1830. Warszawa Chopin’s ‘farewell’ concert in the Teatr Narodowy. ‘A full house. […] resounding ovations. Soliva content’. Besides the Concerto in E minor, he also plays the Grand Fantasy on Polish Airs. Between the Allegro and the Romance of the Concerto sang Anna Wołków (‘dressed like an angel’), whilst in the second part of the programme, after the William Tell Overture – Konstancja Gładkowska. To Woyciechowski: ‘White, with roses in her hair, her attire exquisitely suiting her face […] she sang cavatinas from La donna del lago [Rossini] with recitative as she had never sung anything, except for the aria in Agnese [Paer], before. You know that oh quante lagrime per te versai. She uttered tutto desto to the lower B in such a way that Zieliński maintained that single B to be worth a thousand ducats. […] After leading Miss Gładkowska from the stage, we got down to the Potpuri on Księżyca, co zeszedł, etc. This time I knew what I was doing, and the orchestra knew what it was doing, and the parterre appreciated. […] They called out to me – not once did anyone hiss.’

12 October 1830 The ‘Kurier Warszawski’ reports: ‘an audience of around 700. The new Concerto […] is considered by experts as one of the foremost works of music’.

(via The Fryderyk Chopin Institute)

(The whole concerto)

zveneczi:

Fryderyk Franciszek Chopin (1810-1849): Piano Concerto in E minor, Op. 11 - II. Romance. Larghetto (1830)

Dang Thai Son, Orchestra of the Eighteenth Century, Frans Brüggen

5 October 1830. Warszawa ‘After an orchestral rehearsal of the Second Concerto, the decision was taken to perform it in public, and next Monday […] I shall play it. […] The Rondo – I think that it will impress everyone, as Soliva told me il vous fait beaucoup d’honneur, whilst Kurpiński talked of originality, and Elsner of rhythm. Let us just hope (as I can put together what they call a beautiful evening) that there will be none of those blessed clarinets or bassoons between the piano movements, since Gładkowska, in one part, and Wołków, in another, will be singing. As an overture, I shall give neither Leszek [Elsner] nor Lodoïska [Cherubini], as are usually played, but Guillaume Tell [Rossini]. What troubles I had before the young ladies received permission to sing You would not believe. […] What they will be singing I still do not know’. He also sends Tytus his impressions of Gładkowska’s debut in La Gazza ladra: ‘on her first appearance she was a little afraid, and did not sing the cavatina as she did on the second occasion. Admirable is the moment when she sings. She does not do it briefly, as does Mayerowa, but does it at length. In such a way that it is not a rapid grupetto, but a well-sung eight-note phrase. Added, or rather stuck, in the final act, after the funeral march, is the prayer from Rossini’s Mahometo, which is very good for her voice – since that which was in La Gazza was too high. That, and now accounts from the opera. Wołków is now learning Il barbiere…’ Among the amusingly described news from his social life is the familiar refrain ‘One week at most after the concert I shall no longer be in Warsaw. The chest for the journey is already bought, the whole expedition is ready, scores are bound, handkerchiefs hemmed, trousers done. – Only the farewells remain, and that is most grievous’.

(via The Fryderyk Chopin Institute)

(The whole concerto)