La mer, trois esquisses symphoniques pour orchestre (French for The sea, three symphonic sketches for orchestra), or simply La mer (The Sea), L. 109, CD. 111, is an orchestral composition by the French composer Claude Debussy.
Composed between 1903 and 1905, the piece was premiered in Paris in October 1905. It was initially not well received. Even some who had been strong supporters of Debussy's work were unenthusiastic, even though La mer presented three key aspects of Debussy's aesthetic: Impressionism, Symbolism and Japonism. But the work was performed in the US in 1907 and Britain in 1908; after its second performance in Paris, in 1908, it quickly became one of Debussy's most admired and frequently performed orchestral works.
The first audio recording of the work was made in 1928. Since then, orchestras and conductors from around the world have set it down in many studio or live concert recordings.
La mer was the second of Debussy's three orchestral works in three sections, the other being Nocturnes (1892–1899) and Images pour orchestre (1905-1912). The first, the Nocturnes, was premiered in Paris in 1901, and though it had not made any great impact with the public it was well reviewed by musicians including Paul Dukas, Alfred Bruneau, and Pierre de Bréville. Debussy conceived the idea of a more complex tripartite orchestral piece, and began work in August 1903. He was usually a slow worker, and although the composition of La mer took him more than a year and a half, this was unusually quick progress by his standards, particularly at a time of upheaval in his personal life. He began composing the work while visiting his parents-in-law in Burgundy; by the time it was complete, he had left his wife and was living with Emma Bardac, who was pregnant with Debussy's child.
Debussy retained fond childhood memories of the beauties of the sea, but when composing La mer he rarely visited it, spending most of his time far away from large bodies of water. He drew inspiration from art, "preferring the seascapes available in painting and literature" to the physical sea. Although the detailed scheme of the work changed during its composition, Debussy decided from the outset that it was to be "three symphonic sketches" with the title La mer. In a letter to André Messager, he described the planned sections as "Mère belle aux Îles Sanguinaires", "Jeu de vagues", and "Le vent fait danser la mer". The first of these, inspired by a short story of the same name by Camille Mauclair, was abandoned in favour of a less restrictive theme, the sea from dawn to midday. The last was also dropped, as too reminiscent of ballet, and the less specific theme of the dialogue between the wind and the sea took its place.
Debussy completed La mer 5 March 1905 and took the proofs to correct on holiday at the Grand Hotel, Eastbourne on the English Channel coast, at which he arrived 23 July 1905, he described Eastbourne to his publisher, Durand, as "a charming peaceful spot: the sea unfurls itself with an utterly British correctness." He arranged the piece for piano four hands in 1905, and in 1909 Durand published a second edition of La mer with the composer's revisions.
Debussy - La Mer - Music | History
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The Boléro, Op. 19, is a short piano work written by Frédéric Chopin and published in 1834. It is one of his lesser-known piano pieces, although it has been recorded numerous times.
The overall key of the Boléro is difficult to establish. It was often listed as Boléro in C major - A minor, as the work opens with three unison octaves in G (dominant chords of C major) in fortissimo, then a lengthy Introduction in C major, moving to A minor (relative minor) for the Boléro proper. It is interrupted by sections in A major, A-flat major and B-flat minor before returning to A minor. It ends triumphantly in A major (parallel major).
The work was dedicated to the Scottish-born but half-French Mademoiselle la Comtesse Émilie de Flahaut, then aged only 14, and a pupil of Chopin's. She was later to become Countess of Shelburne.The apparent inspiration for the Boléro was Chopin's friendship with the French soprano Pauline Viardot, whose father, the famed Spanish tenor Manuel García, had introduced boleros to Paris by the time of Chopin's arrival there. His biographer Frederick Niecks speculated that it was inspired by the Bolero in Daniel Auber's La muette de Portici (1828). Despite the ostensibly Spanish flavour of the piece, it has been described as a polonaise in disguise, or a boléro à la polonaise, as its rhythms are more redolent of the national dance of Chopin's homeland than anything Spanish. It was written five years before Chopin first visited Spain (1838).
Frédéric Chopin, French in full Frédéric François Chopin, Polish Fryderyk Franciszek Szopen, (born March 1, 1810 , Żelazowa Wola, near Warsaw, Duchy of Warsaw [now in Poland]—died October 17, 1849, Paris, France), Polish French composer and pianist of the Romantic period, best known for his solo pieces for piano and his piano concerti. Although he wrote little but piano works, many of them brief, Chopin ranks as one of music’s greatest tone poets by reason of his superfine imagination and fastidious craftsmanship.
Chopin - Bolero, Op. 19
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The Partitas, BWV 825–830, are a set of six harpsichord suites written by Johann Sebastian Bach, published individually beginning in 1726, then together as Clavier-Übung I in 1731, the first of his works to be published under his own direction. They were, however, among the last of his keyboard suites to be composed, the others being the six English Suites, BWV 806-811 and the six French Suites, BWV 812-817, as well as the Overture in the French style, BWV 831.
The six partitas for keyboard form the last set of suites that Bach composed, and are the most technically demanding of the three. They were composed between 1725 and 1730 or 1731. As with the French and English Suites, the autograph manuscript of the Partitas is no longer extant.
In keeping with a nineteenth-century naming tradition that labelled Bach's first set of Suites English and the second French, the Partitas are sometimes referred to as the German Suites. This title, however, is a publishing convenience; there is nothing particularly German about the Partitas. In comparison with the two earlier sets of suites, the Partitas are by far the most free-ranging in terms of structure. Unlike the English Suites, for example, wherein each opens with a strict prelude, the Partitas feature a number of different opening styles including an ornamental Overture and a Toccata.
Although each of the Partitas was published separately under the name Clavier-Übung (Keyboard Practice), they were subsequently collected into a single volume in 1731 with the same name, which Bach himself chose to label his Opus 1. Unlike the earlier sets of suites, Bach originally intended to publish seven Partitas, advertising in the Spring of 1730 upon the publication of the fifth Partita that the promised collected volume would contain two more such pieces. The plan was then revised to include a total of eight works: six Partitas in Part I (1731) and two larger works in Part II (1735), the Italian Concerto, BWV 971, and the Overture in the French style, BWV 831. The second of these is an eleven-movement partita, the largest such keyboard work Bach ever composed, and may in fact be the elusive "seventh partita" mentioned in 1730. The Overture in the French style was originally written in C minor, but was transposed a half step down for publication to complete the tonal scheme of Parts I and II as described below.
The tonalities of the six Partitas (B♭ major, C minor, A minor, D major, G major, E minor) may seem to be irregular, but in fact they form a sequence of intervals going up and then down by increasing amounts: a second up (B♭ to C), a third down (C to A), a fourth up (A to D), a fifth down (D to G), and finally a sixth up (G to E). This key sequence continues into Clavier-Übung II (1735) with the two larger works: the Italian Concerto, a seventh down (E to F), and the Overture in the French style, an augmented fourth up (F to B♮). Thus this sequence of tonalities customary for 18th-century keyboard compositions is complete, beginning with the first letter of his name (B in German is Bach's "home" key of B♭) and ending with the last letter (H in German is B♮) while including both A and C along the way.
Bach - Partita No. 2 BWV 826
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Grand duo concertant sur la Romance de M. Lafont 'Le marin', S.128 is a piece for solo violin and piano composed around 1849 by Franz Liszt. It has 2 sections which last 15 minutes in a typical performance.
Franz Liszt was a Hungarian pianist and composer of enormous influence and originality. He was renowned in Europe during the Romantic movement.
By the time Franz Liszt was 9 years old, he was performing in concert halls. As an adult, he toured extensively throughout Europe. He had an affair and children with Marie díAgoult and later lived with Princess Carolyne zu Sayn-Wittgenstein. By his death, he had written more than 700 compositions.
Liszt was born on October 22, 1811, in Raiding, Hungary. His father, Adam, played the cello, as well as several other instruments, and passionately taught Franz how to play piano. By the age of 6, young Liszt was recognized as a child prodigy; by the age of 8, he was composing elementary works; and by the age of 9, he was appearing in concerts. His father worked as a secretary for Prince Nicholas Esterhazy, and, after the boy played for a group of wealthy sponsors, he asked the prince for extended leave so he could devote his time to enriching his son's musical education.
Father and son traveled to Vienna, and Antonio Salieri, Mozart's old rival, quickly became a proponent of Liszt's genius. Upon hearing the boy play at a private home, he offered to train him in composition free of charge. For several months, the young pianist held performances for both musicians and kings. His most impressive talent was his uncanny ability to improvise an original composition from a melody suggested by an audience member. At the age of 12, Liszt traveled with his father to Paris to seek admittance to the Paris Conservatory. The admissions council denied him a place in the school on the grounds that he was a foreigner. His father, ever determined, turned to Ferdinando Paer to teach his son advanced composition. It was during this time that Liszt wrote his first and only opera, Don Sanche.
In 1826, Adam Liszt passed away. The event proved to be extremely traumatic for the 15- year-old Franz Liszt, and it necessitated that he shares their one-bedroom Parisian apartment with his mother. In the years that followed, Franz Liszt lost interest in music to such a degree that he began to question his profession. He turned away from performing and started to read profusely, delving into books on the subjects of art and religion. What he read during that time would greatly influence his later musical works.
In 1833, at the age of 22, Liszt met the Comtesse Marie d'Agoult. Inspired by love and nature, he composed several impressions of the Swiss countryside in "Album d'un voyageur," which would later surface as the "Années de Pèlerinage" ("Years of Pilgrimage"). In 1834, Liszt debuted his piano compositions "Harmonies poétiques et religieuses" and a set of three "Apparitions."
Strengthened by new works and several public performances, Liszt began to take Europe by storm. His reputation was bolstered even further by the fact that he gave away many of his concert proceeds to charities and humanitarian causes. For example, when in 1842 he found out about the Great Fire of Hamburg, which had destroyed much of the city, he gave concerts to create aid for its thousands of homeless. On a personal level, however, matters were less than glorious for Liszt. His relationship with Marie d'Agoult, which by that point had produced three children, finally ended. In 1847, while in Kiev, Liszt met Princess Carolyne zu Sayn-Wittgenstein. Her influence on him was dramatic; she encouraged him to stop touring and, instead, teach and compose, so he could have a more domestic life with her. Liszt gave his final concert for pay at Elisavetgrad in September, and then spent the winter with the princess at her estate in Woronince.
The next year, the couple moved to Weimar, Germany, and Liszt began to concentrate on a higher missionóthe creation of new musical forms. His most famous achievement during this time was the creation of what would become known as the symphonic poem, a type of orchestral musical piece that illustrates or evokes a poem, a story, a painting, or other nonmusical source. Aesthetically, the symphonic poem is in some ways related to opera; it is not sung, but it does unite music and drama. Liszt's new works inspired eager pupils to seek his guidance. For the next 10 years, Liszt's radical and innovative works found their way into the concert halls of Europe, winning him staunch followers and violent adversaries.
Liszt - Grand duo concertant sur le 'Le marin', S.128
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The Piano Sonata in F major, Hob. XVI/9, L.3, was written in 1758 by Joseph Haydn.
Haydn's piano sonatas were long disseminated solely in the form of copies; it was not until 1774 that a printed edition also appeared, containing the sonatas Hob. XVI:21-26 and dedicated to Haydn's aristocratic employer Prince Nikolaus Esterházy. With an opening movement characterized by two contrasting themes, a sensitive Adagio in F minor and a sparkling Presto Finale, No. 3 of the collection, in F Major, is an outstanding example of the classical sonata. Perhaps this is why this technically challenging work has remained the most popular of the set.
Franz Joseph Haydn (31 March 1732 – 31 May 1809) was an Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio. His contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet".
Haydn spent much of his career as a court musician for the wealthy Esterházy family at their remote estate. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, "forced to become original". Yet his music circulated widely, and for much of his career he was the most celebrated composer in Europe.
He was a friend and mentor of Mozart, a tutor of Beethoven, and the older brother of composer Michael Haydn.
Haydn - Piano Sonata in F major Hob. XVI
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The Flute Concerto No. 1 in G major, K. 313, was written in 1778 by Wolfgang Amadeus Mozart. Commissioned by the Dutch flautist Ferdinand De Jean in 1777, Mozart was supposed to provide four flute quartets and three flute concertos, yet he only completed two of the three concertos, K. 313 being the first. The Andante for Flute and Orchestra K. 315 may have been written as an alternative slow movement for this concerto, but there is no extant manuscript and it is therefore difficult to ascertain Mozart's intentions clearly (this also means that current editions are based on the earliest editions rather than an autograph).
The piece is scored for a standard set of orchestral strings, two oboes (which are replaced with two flutes in the Adagio movement), and two horns.
The piece is divided into three movements:
1. Allegro maestoso
2. Adagio ma non troppo
3. Rondo: Tempo di Menuetto
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791), baptised as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period.
Born in Salzburg, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized.
He composed more than 600 works, many of which are acknowledged as pinnacles of symphonic, concertante, chamber, operatic, and choral music. He is considered among the greatest classical composers of all time, and his influence is profound on subsequent Western art music. Ludwig van Beethoven composed his early works in the shadow of Mozart, and Joseph Haydn wrote: "posterity will not see such a talent again in 100 years".
Mozart - Flute Concerto in G Major K. 313
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Ludwig van Beethoven's Piano Sonata No. 3 in C major, Op. 2, No. 3, is a sonata written for solo piano, composed in 1795. It is dedicated to Joseph Haydn and is often referred to as Beethoven's first virtuosic piano sonata. The three Op. 2 sonatas all contain four movements each, an unusual length which seems to show that Beethoven was aspiring towards composing a symphony. It is both the weightiest and longest of the three Op. 2 sonatas, lasting over 25 minutes, presenting many difficulties, including difficult trills, awkward hand movements, and forearm rotation. It is Beethoven's second longest piano sonata in his early period, only to Beethoven's Grand Sonata in E♭ Major, Op. 7, published a year later.
I. Allegro con brio
The first movement follows the sonata allegro format of the classical period, and borrows thematically from Beethoven's Piano Quartet No. 3 in C major, WoO 36, from a decade earlier. The movement opens with the main theme in the tonic key, beginning with a double-thirds trill-like pattern. This opening passage is infamous for pianists to play, and Arthur Rubinstein even used this passage to test pianos before performing on them. This pattern leads into an energetic outburst of a broken-chord and broken-octave section. The second theme of the exposition begins in the key of G minor, and is repeated in D minor at measure 33. It is not until measure 47 that the traditional dominant key is finally reached, where a subsidiary theme in the second thematic group appears, marked "dolce." A forte shows later, leading to a very rich melody with left and right hand.
Then a similar outburst of a broken-chord and broken-octave sections appears in fortissimo.
Then it ends with some difficult trills and an octave scale. Beethoven opens the development by improvising on trill patterns introduced in the end of the exposition, which are much more difficult to play. Following a broken-chords section filled with harmony changes, the main theme is restated in D major (pianissimo), the supertonic key of C major. Then a fortissimo and Beethoven's very common syncopations appears in the music giving a rhythm, this continues on to the resolution. The recapitulation is a key change from G major to C major, which is finished by a cadenza, which begins with a sudden A-flat major chord. The cadenza is very light and vibrant and it ends with a long trill and descending chromatic scale in the right hand. The first movement is about 10 minutes long and is one of Beethoven's longest movements from his early period.
II. Adagio
The second movement is marked Adagio and written in the key of E major. It is in rondo form, A–B–A–B–A–coda, written in the style of a string quartet, as there are four clear voices. The middle section, in E minor, contains numerous examples of Romanticism, and is considered a prelude to the master's later sonatas. Later in the movement, the E minor passage is repeated in E major.
III. Scherzo: Allegro
The third movement, a scherzo, is written in minuet and trio form. It opens with a joke-like statement, and the composer uses some polyphony. The trio is in the relative minor key of C major (A minor) and contains running arpeggios in the right hand with the left hand playing a melodic line in octave form. The coda of this short movement ends the Scherzo softly with a tritone substitute authentic cadence.
IV. Allegro assai
The final movement, listed as a rondo, is in the sonata rondo form. The movement opens with an ascending run of first inversion chords in the right hand, which is the movement's main theme. Like the first movement, the second theme in the exposition is also written in G major. The great speed of this movement, combined with numerous examples of Beethoven's virtuoso skill such as the triple trill at the very end, makes it challenging for pianists.
Beethoven - Sonata No. 3 in C Major, Op. 2
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Chopin - Nocturne in C sharp minor, Op. 27 No. 1 - Music | History
The Nocturnes, Op. 27 are two solo piano pieces composed by Frédéric Chopin. The pieces were composed in 1836 and published in 1837. Both nocturnes in this opus are dedicated to Countess d'Appony.
This publication marked the transition from triplets of nocturnes to contrasting pairs.
David Dubal feels that the pieces are "more aptly described as ballades in miniature". Blair Johnson states that these two nocturnes are "two of the most powerful—and famous—nocturnes [Chopin] has ever penned" and that these nocturnes are "virtually unrecognizable" to the nocturne tradition of John Field.
The Nocturne in C-sharp minor is initially marked larghetto and is in 4/4 meter. It transitions to più mosso (more movement) in measure 29. The piece returns to its original tempo in measure 84, and ends in an adagio beginning in measure 99. The piece is 101 measures long and written in ternary form with coda; the primary theme is introduced, followed by a secondary theme and a repetition of the first.
The opening alternates between major and minor and uses arpeggios, commonly found in other nocturnes as well, in the left-hand. It sounds "morbid and intentionally grating". James Friskin noted that the piece requires an "unusually wide extension of the left hand" in the beginning and called the piece "fine and tragic". James Huneker commented that the piece is "a masterpiece", pointing to the "morbid, persistent melody" of the left hand. For David Dubal, the più mosso has a "restless, vehement power". Huneker also likens the più mosso to a work by Beethoven due to the agitated nature of this section. The coda "reminds the listener of Chopin's seemingly inexhaustible prodigality" according to Dubal while Huneker calls it a "surprising climax followed by sunshine" before returning to the opening theme.
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Rossini - Overture to William Tell - Music | History
The William Tell Overture is the overture to the opera William Tell (original French title Guillaume Tell), whose music was composed by Gioachino Rossini. William Tell premiered in 1829 and was the last of Rossini's 39 operas, after which he went into semi-retirement (he continued to compose cantatas, sacred music and secular vocal music). The overture is in four parts, each following without pause.
There has been repeated use (and sometimes parody) of parts of this overture in both classical music and popular media. It was the theme music for The Lone Ranger in radio, television and film. Two different parts were also used as theme music for the British television series The Adventures of William Tell, the fourth part (popularly identified in the US with The Lone Ranger) in the UK, and the third part, rearranged as a stirring march, in the US.
Franz Liszt prepared a piano transcription of the overture in 1838 (S.552) which became a staple of his concert repertoire. There are also transcriptions by other composers, including versions by Louis Gottschalk for two and four pianos and a duet for piano and violin.
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Chopin - Etude Op. 10 - Music | History
The Études by Frédéric Chopin are three sets of études (solo studies) for the piano published during the 1830s. There are twenty-seven compositions overall, comprising two separate collections of twelve, numbered Op. 10 and Op. 25, and a set of three without opus number.
Chopin's Études formed the foundation for what was then a revolutionary playing style for the piano. They are some of the most challenging and evocative pieces of all the works in concert piano repertoire. Because of this, the music remains popular and often performed in both concert and private stages. Some are so popular they have been given nicknames; arguably the most popular of all is Op. 10, No. 3, sometimes identified by the names "Tristesse" ("Sadness") or "Farewell" ("L'Adieu"), as well as the "Revolutionary Étude" (Op. 10, No. 12). No nicknames are of Chopin's original creation.
All twenty-seven études were published during Chopin's lifetime; Op. 10, the first group of twelve, were composed between 1829 and 1832, and were published in 1833, in France, Germany, and England. The twelve études of Op. 25 were composed at various times between 1832 and 1835, and were published in the same countries in 1837. The final three, part of a series called Méthode des méthodes de piano compiled by Ignaz Moscheles and François-Joseph Fétis, were composed in 1839, without an assigned opus number. They appeared in Germany and France in November 1840, and England in January 1841. Accompanying copies of these important early editions, there are usually several manuscripts of a single étude in Chopin's own hand, and additional copies made by his close friend, Jules Fontana, along with editions of Karol Mikuli, Chopin's student.
The first études of the Opus 10 set were written when Chopin was still in his teens. They rank alongside the early works of Felix Mendelssohn as rare examples of extremely youthful compositions that are regarded as both innovative and worthy of inclusion in the standard canon. Chopin's études elevated the musical form from purely utilitarian exercises to great artistic masterpieces.
The first set of Études was published in 1833 (although some had been written as early as 1829). Chopin was twenty-three years old and already famous as a composer and pianist in the salons of Paris, where he made the acquaintance of Franz Liszt. Subsequently, Chopin dedicated the entire opus to him – "à mon ami Franz Liszt" (to my friend, Franz Liszt).
The etudes 8,9,10 and 11 dating from October/November 1829, No.5 and 6 probably from summer 1830, No.1 and 2 November 2 1830 , No.12 September 1831 (?),No.7 spring 1832, No. 4 August 6 1832 and No. 3 August 25 1832 ( Paris ) (Krystyna Kobylanska).
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