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Compositor: Chopin, Fryderyk Franciszek (1810-1849)

Buscador de conciertos de música clásica, óperas, espectáculos de ballet y danza | Chopin
agosto 2019
Función de tarde
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WarsawBenjamin Grosvenor

Schumann, Chopin, Prokofiev, Liszt
Benjamin Grosvenor, Piano

KrakowJakub Kuszlik

Beethoven, Schumann, Bach, Chopin, Debussy, Busoni
Jakub Kuszlik, Piano

LondresProms at…Cadogan Hall 5: Louise Alder

Schubert, Mendelssohn, Hensel, Liszt, Chopin, Rossini
Louise Alder; Gary Matthewman

WarsawSymphonic Concert

Mozart, Chopin, Mendelssohn
Masaaki Suzuki; Tomasz Ritter; Bach Collegium Japan

WarsawSymphonic Concert

Rachmaninov, Chopin, Berlioz
Sinfonia Varsovia; Tatsuya Shimono; Nelson Goerner; Piotr Alexewicz; Ryszard Groblewski
Últimas críticasVer más...

La Mahler Chamber Orchestra inaugura el Festival de Santander

El pianista Seong-Jin Cho durante su actuación en el Festival de Santander © Festival Internacional de Santander | Pedro Puente Hoyos
La Mahler Chamber Orchestra inaugura la 68 edición del Festival Internacional de Santander con Jakub Hrůša en la direccion.

Evgeny Kissin en Madrid: un recital memorable

Evgeny Kissin © Rafa Martín
Ante una gran expectación y en un auditorio lleno hasta los topes, Evgeny Kissin ofreció un recital en Madrid que ha dejado una impronta excelsa e indeleble.

Chopin y Debussy a través de la Prisca Sapientia de Maurizio Pollini

El pianista Maurizio Pollini © Cosimo Filippini
Maurizio Pollini, acogido en Madrid por la Fundación Scherzo, desplegó toda su sabiduría en un discurso pianístico profundamente personal.

Jan Lisiecki, o de la aporía de la naturalidad

El pianista canadiense Jan Lisiecki © Holger Hager
Lisiecki tiene algo que trasmitir cuando sale al escenario. Una personalidad que tal vez se está forjando aún por completo pero que contiene un discreto encanto: la naturalidad.

Joaquín Achúcarro pone en pie al Palacio de Festivales

Joaquín Achúcarro durante un coloquio previo al concierto © Pedro Puentes Hoyos | Festival Internacional de Santander
El maestro Joaquín Achúcarro cumplió 85 la pasada noche y, sentado al piano del Palacio de Festivales de Santander, lo celebró con una velada mágica y ensoñadora. Como si de un viaje vital se tratara, nos llevó desde los ‘paisajes emocionales’ de Chopin hasta el Homenaje a Debussy de Falla.

Delicate, refined, passionate, emotive, romantic. Many music lovers consider Chopin's piano works to be the very greatest of all music written for the instrument. It's certainly distinctive: you can listen to an awful lot of music from the same period and be in no doubt whatsoever when you hear Chopin. 

A large part of the effect comes from Chopin's talent for melody. In every generation, just a few composers have the talent for writing tune after tune that sticks in your memory as soon as you've heard it, and Chopin was certainly one of them. But what makes him special is his ability to wrap intricate tracery around his melodies and to surprise you repeatedly with shifts of key and rhythm while always putting across a feeling that every note is in the right place. Perhaps the best descriptions come from the Paris Revue Musicale, which described the 22-year old Chopin as a young man who had found “an extravagance of original ideas that are unexampled anywhere” and from Robert Schumann, who found in his music the sound of “cannon concealed amid blossoms”.

Chopin was a less versatile composer than most of the greats with whom he is frequently and fairly bracketed. There is a handful of chamber pieces and orchestral works and a few songs, none of them massively distinguished. Through and through, Chopin was a salon composer: he wrote piano music to be played in the living rooms of the rich. And within that compass, he was matchless.

Part of Chopin's unique sound comes from a unique background. Born Fryderyk Franciszek to a Frenchman settled in Poland, he became an ardent Polish nationalist Polishness and is treated as one of the great men of Polish history. By the time he was eleven, the young Chopin was already acclaimed as a great pianist and had played for the Tsar of Russia at the opening of the Polish parliament; at twenty, he set off to make his fortune in Western Europe. Just 27 days after he left, the Poles rebelled against the rule of Russia in the November uprising, a rebellion which was crushed the following year, leaving Chopin distraught and providing the creative impulse for one of his most famous works, the “Revolutionary” Etude (Op.10 no.12). He suffered from ill health throughout his life.

Chopin settled in Paris, where he became “Frédéric-François”, the name by which he is best known in English-speaking countries today, although he never learnt French perfectly. He enjoyed great concert success, but became aware that his style of playing was not suited to larger concert halls, preferring to play at his home or in salons, often on his much beloved Pleyel pianos.

In 1848, Chopin’s life was transformed by revolution once again, as the French nobility who formed his clientèle fled Paris, leaving him without income and in sharply deteriorated health. His last concert was in London in November that year: an ill-fated benefit concert for Polish refugees (no-one knows what was played since he could not be heard above the chatter of the social occasion). He died a year later in Paris, with his sister Ludwika, who had given him his first piano lessons, at his bedside.

Every lover of Chopin has their own favourite works and their own favourite performers: his music seems to lend itself to an extraordinary variety of performance styles, with endless argument possible about tempos, rubato, accenting and many other features of a performance.

Famous interpreters of the past include Artur Rubinstein, Vladimir Horowitz, Claudio Arrau and my personal favourite, the Romanian Dinu Lipatti. A “must have” play-list would include the Etudes, the Waltzes, the Preludes, the Ballades (a form that Chopin invented), and several of the Polonaises and Mazurkas. Also unforgettable are the Fantaisie-Impromptu in C sharp minor, Op. posth. 66, the Barcarolle in F sharp (a transcendent, lilting Venetian boating song) and the B flat minor Piano Sonata with its famous funeral march whose glorious gift is to uplift one’s spirits in the face of death.

David Karlin
18th December 2009

Listado de obras
12 Etudes, Op.1012 Etudes, Op.252 Mazurkas2 Nocturnes, Op.2724 Preludes24 Preludes, Op.283 Mazurkas, Op.633 Waltzes, Op.644 Mazurkas, Op.33Allegro de Concert, A major, Op.46Andante spianato et Grande Polonaise brillante, Op.22Ballade no. 1 in G minor, Op.23Ballade no. 2 in F major, Op.38Ballade no. 3 in A flat major, Op.47Ballade no. 4 in F minor, Op.52Barcarolle in F sharp major, Op.60Berceuse in D flat major, Op.57Bolero, Op.19Cello Sonata in G minor, Op.65Complete 4 Ballades Op.23, Op.38, Op.47, Op.52Concierto para piano núm. 1 en mi menor, Op.11Concierto para piano núm. 2 en fa menor, Op.21Dances at a GatheringEtude in A flat major, Op.25 no.1Etude in A minor, Op.10 no.2Etude in C major, Op.10 no.1Etude in C sharp minor "Torrent", Op.10 no.4Etude in C sharp minor, Op.25 no.7Etude in F minor, Op.25 no.2Etudes and Preludes: selectionFantasia in A major on Polish Airs, Op.13Fantasy in F minor, Op.49Four Mazurkas, Op.24Fugue in A minor, KK14 c/2Grandes Valses Brillantes, Op.34Impromptu Fantasie in C sharp minor, Op.66Impromptu in A flat major, Op.29Impromptu in F sharp major, Op.36Impromptu in G flat major, Op.51In The NightIntroduction and Polonaise Brillante in C major for cello and piano, Op.3La Dame aux caméliasMazurMazurka in A minor, Op.17 no.4Mazurka in F minor, Op. posth.MazurkasNocturne Op. 55 Nr. 2Nocturne in C minor, KKIVb/8Nocturne in C sharp minor, "Lento Con Gran Espressione", Op. posth, B 49Nocturne in C sharp minor, KKIVa No.16Nocturne no. 1 in B flat minor, Op.9 no.1Nocturne no. 13 in C minor, Op.48 no.1Nocturne no. 16 in E flat major, Op.55 no.2Nocturne no. 17 in B major, Op.62 no.1Nocturne no. 18 in E major, Op.62 no.2Nocturne no. 19 in E minor, Op.72 no.1Nocturne no. 2 in E flat major, Op.9 no.2Nocturne no. 21 in C minor (posthumous)Nocturne no. 3 in B major, Op.9 no.3Nocturne no. 4 in F major, Op.15 no.1Nocturne no. 8 in D flat major, Op.27 no.2Nocturne no. 9 in B major, Op.32 no.1Nocturne no.2 in E flat major, Op.9 no.2Nocturnes, Op.9ObrasPiano Sonata no. 2 in B flat minor 'Funeral March', Op.35Piano Sonata no. 3 in B minor, Op.58Polonaise Brillante, Op.3Polonaise no. 1 in C sharp minor, Op.26 no.1Polonaise no. 2 in E flat minor, Op.26 no.2Polonaise no. 5 in F sharp minor, Op.44Polonaise no. 6 in A flat major, "Heroic," Op.53Polonaise no. 7 in A flat major "Polonaise-fantaisie", Op.61Polonaises, Op.26Prelude in A flat major, Op.28 no.17Prelude in A major, Op.28 no.7Prelude in C sharp minor, Op.45Prelude in D flat major "Raindrop", Op.28 no.15Prelude in E minor, Op.28 no.4PreludesRondo à la Mazur in F major, Op.5Scherzo no. 1 in B minor, Op.20Scherzo no. 2 in B flat minor, Op.31Scherzo no. 3 in C sharp minor, Op.39Scherzo no. 4 in E major, Op.54Sliczny chlopiec (the handsome lad) in D major, Op.74 no.8Tarantella in A flat major, Op.43The Concert (or, The Perils of Everybody)Three Mazurkas, Op.59Trio in G minor for piano, violin and cello, Op.8Two Nocturnes, Op.55Two Nocturnes, Op.62Variations brillantes in B flat major on "je vends des scapulaires", Op.12Variations in B flat major on "la ci darem la mano" for piano and orchestra, Op.2Waltz in A Minor "Grande Valse Brillante", Op.34 no.2Waltz in A flat major "Valse Brillante", Op.34 no.1Waltz in F major "Grande Valse Brillante", Op.34 no.3Waltz no. 10 in B minor, Op.69 no.2Waltz no. 7 in C sharp minor, Op.64 no.2Waltz no. 9 in A flat major "L'Adieu", Op.69 no.1Waltzes - variousWaltzes, Op.69Wiosna (spring song) in G minor, Op.74 no.2Zyczenie (a young girl's wish) in G major, Op.74 no.1