Music: Glenn Gould - Chopin sonata no.3 - Data

Posted by ricardo marcenaro | Posted in | Posted on 19:46


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Usted será una mejor persona
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Glenn Gould

Canada


video




Sonata para piano n.º 3 (Chopin)


La Sonata para piano n.º 3 de Frédéric Chopin data de 1844 y fue publicada el mismo año en Leipzig y simultáneamente en París y Londres con el opus 58. Está en la tonalidad de si menor, siendo dedicada a la condesa de Perthuis. Es la más lograda y completa de las sonatas chopinianas, resultando una auténtica obra maestra. Esta sonata anuncia ya las características que Johannes Brahms utilizaría para sus tres sonatas para piano.

Movimientos


  • Allegro maestoso. En este movimiento hay dos temas principales, pero es tal la capacidad inventiva del compositor, que otros temas enriquecen su contenido. Al igual que en la sonata anterior, se omite en la recapitulación el primer tema, centrándose en el segundo, sostenuto e molto espressivo.

  • Scherzo. Molto vivace. Este breve movimiento tiene un tema principal que revolotea sobre las teclas. La sección central o trío, en si mayor, es reposada.

  • Largo. El tema principal, en si mayor, aparece tras una solemne introducción en octava. Todo el movimiento, de gran amplitud, es una sucesión de bellezas en el más puro estilo chopiniano, tocado de un encanto soñador y poético.

  • Finale. Presto, non tanto. Rondó de gran fuerza, irrumpe con ocho compases de extrordinaria densidad que preceden al tema principal, apasionado y fogoso. Movimiento de una soberbia riqueza rítmica, melódica y armónica.

Referencias


  • AA. VV. (1997): Piano Classics. Guía de la audición, Barcelona.

Enlaces externos





Music: Glenn Gould - Chopin sonata no.3 - Data



Frédéric Chopin composed his Piano Sonata No. 3 in B minor, Op. 58, in 1844 and dedicated it to Countess Emilie de Perthuis. As his last sonata for solo piano, it has been suggested that this was his attempt to address the criticisms of his earlier sonata Op. 35.
The sonata consists of four movements, a similar structure to the second sonata, with a lyrical largo rather than a funeral march.
  1. Allegro maestoso
  2. Scherzo: Molto vivace
  3. Largo
  4. Finale: Presto non tanto; Agitato
A performance of the work lasts around 25-35 minutes.
The work opens on a martial note, the heavy chords and filigree in the opening of the first movement giving way to a more melodic second theme, eventually leading to the conclusion of the exposition in the relative major, D. Motives of the original theme emerge in the development, which, unconventionally, returns to the second theme (as opposed to the first) for the recapitulation. The movement concludes in B major.
The scherzo, in the distant key of E flat and in strict ternary form, characterised by ebullient quaver runs in the right hand, with a more demure chordal middle section. If played slowly, the main E-flat theme sounds somewhat similar to the E-flat melody from the composer's First Ballade. Unlike the scherzo of the B-flat minor sonata (and, indeed, the rest of Chopin's contributions to the genre outside of the sonatas), it is exceptionally short, typically lasting barely two minutes in performance.
Despite a stormy introduction in dotted rhythm, the largo is serene, almost nocturne-like; a mellow and expansive middle section, again characterised by quaver figuration in the background of an intensely harmonic line, separates the more cantabile outer sections in B major. It is the most musically profound of the movements (Kraemer, 1991), in terms of a sustained melody and innovative harmonic progression; it rivals the extensive first movement in length alone.
Its turbulent and dramatic introduction–a rising harmonic progression left hanging on a high dominant seventh–aside, the finale, in B minor, is pervaded by a "galloping" rhythm; emphasis in the melodic line on the first and third beats of each half-measure outlines the fifth through eighth degrees of a harmonic minor scale, in this case the F# and B, lending prominence to the augmented second between the sixth and raised seventh scale degrees, the G and A#. The overall melody, chromatic yet rooted in the minor tonic, contributes a dark mood to these primary sections. A more triumphant second theme in B major, repeated twice in the movement's A-B-A-B-A form, appears quite suddenly at the conclusion of the first (likewise when repeated); eventually rising during fleet-fingered runs over a left-hand melody, it tumbles back to a dramatic restatement of the main theme in both of its appearances. The piece concludes in a jubilant B major coda.

References

  • "Chopin, Fryderyk Franciszek". The New Grove Dictionary of Music and Musicians (2 ed.). 2001.
  • Kraemer, Uwe (1991), 14 Waltzes/Piano Sonata No. 3, Sony

External links



You have an alphabetical guide in the foot of the page in the blog: solitary dog sculptor
In the blog: Solitary Dog Sculptor I, the alphabetical guide is on the right side of the page
Thanks

Usted tiene una guía alfabética al pie de la página en el blog: solitary dog sculptor
En el blog: Solitary Dog Sculptor I, la guia alfabética está en el costado derecho de la página
Gracias




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Comments (1)

Muy bueno!
Yo creo que Glenn no sólo fué (y seguirá siendo a través de sus grabaciones) un pianista genial, sino una de las personalidades mas importantes que ha dado el siglo XX.

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