Music: Glenn Gould - Chopin sonata no.3 - Data
Posted by Ricardo Marcenaro | Posted in Music: Glenn Gould - Chopin sonata no.3 - Data | Posted on 19:46
Open your mind, your heart to other cultures
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM
Abra su mente, su corazón a otras culturas
You will be a better person
Usted será una mejor persona
RM
Glenn Gould
Canada
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
- Sonata para piano n.º 3 (Chopin) en el Proyecto Biblioteca Internacional de Partituras Musicales
- La partitura de la Sonata para piano n.º 3 está disponible en Musopen.com
- Grabación libre de la Sonata para piano n.º 3 por Alberto Cobo
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.
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.
The sonata consists of four movements, a similar structure to the second sonata, with a lyrical largo rather than a funeral march.
- Allegro maestoso
- Scherzo: Molto vivace
- Largo
- Finale: Presto non tanto; Agitato
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
- Piano Sonata No. 3 (Chopin): Free scores at the International Music Score Library Project.
- Piano Sonata No. 3 sheet music available at Musopen.com
- free recording of Sonata No. 3 by Alberto Cobo
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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.
Thanks :)
Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.
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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.