Classical Music | Piano Music

Frédéric Chopin

Polonaises Op. 26 N 1; Op 40 n 1; Op 40 n 2; Op 26 n 2; Op 44; Op 53  Play

Lazar Berman Piano

Recorded on 02/11/2012, uploaded on 02/11/2012

Musician's or Publisher's Notes

 

Istituto Europeo di Musica. Programmazione del Sabato e della Domenica. Nell'antica Idea della filodiffusione di musica classica

The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly european).

Lazar Berman, piano. Live rec. (July 4, 1992):Rencontres Internationales de piano- St Jean de Luz, Ciboure-Guetary.

 

Video in VHS Format OCLC Number:37357377
Notes:"Recontres Internationales de Piano, St Jean de Luz, Ciboure-Guétary."
Credits:Réalisation, Georges Bessonnet.
       Description:1 videocassette (62 min.) : sd., col. ; 1/2 in.
Details:VHS format.
   Contents:Funérailles / Liszt --
Polonaises. Op. 26, no. 1 ; Op. 40, no. 1; Op. 40, no. 2 ; Op. 26, no. 2 ; Op. 44 ; Op. 53 / Chopin.
       Other Titles:Lazar Berman in recital
Berman interprète Franz Liszt
Berman in recital
            Responsibility:G.B. Productions France

 


Frédéric Chopin

Op 26 n 1

Op 40 n 1

Op 40 n 2

Op 26 n 2

Op 44

Op 53

 

Polonaise in C minor, op. 40 no. 2 

Like the mazurka, the polonaise was an expression of nationalistic pride for Chopin. As a Polish expatriate living in Paris in the aftermath of the November Uprising, Chopin embraced his heritage through his music. While the mazurkas tended to be of a more introspective nature often conveying Chopin’s wistful and melancholy remembrances of his homeland, the polonaises were, on the other hand, often more extroverted. Arthur Rubenstein said of the two polonaises of opus 40 that the first in A major, known as the “Military” Polonaise, was the symbol of Polish glory, while its companion piece in C minor was that of Polish tragedy. Of the two, the “Military” Polonaise is by far the most popular and, during the Nazi invasion of Poland in September 1839, was played daily over the radio to bolster the morale of the Polish people. Its companion, however, is perhaps the finer piece artistically, portraying a deeper portrait of the homesick composer.

Composed in 1838, the Polonaise in C minor, opens ominously with repeated tonic chords, like the tolling of bells. Beneath these death knells is heard the dance’s principle subject, a ponderous theme that wells up from the lowest register of the piano. In its middle section, the theme becomes more agitated but then all too briefly finds a moment of repose in the key of G major before descending once more into the strife-laden principal theme. The central episode turns to the key of A-flat major and the listener here finds a lengthier moment of calm. However, at the close of the episode’s first refrain, the sudden appearance of two fortissimo chords reminds the listener of the storm that remains ever so near. Skittishly, the music proceeds on eventually regaining a semblance of the calm it once possessed as the episode’s theme is stated again. From its closing figure, Chopin quickly transitions back to a drastically curtailed reprise of the opening section. Only a single statement of the principal theme is given, as if any more would be too great a burden. Even this statement is cut short just prior to its last cadence. A moment of silence succinctly recapitulates the music which has preceded it before the final cadence brings the polonaise to a close.          Joseph DuBose

 

 

Polonaise in C-sharp minor, op. 26 no. 1;  Polonaise in E-flat minor, op. 26 no. 2

The outbreak of the November Uprising in 1830 left Frédéric Chopin a political exile from his native Poland. When word of the uprising reached Chopin in Vienna, his travelling companion Tytus Woyciechowski returned home to enlist in the Polish cause. Chopin was left alone in Vienna, homesick yet barred from returning to his native land. Unable to fully adapt himself to Viennese society, he left that great musical city after less than a year for Paris. While en route to the French capital in September 1831, the distressing news reached him of Imperial Russia’s victory over the Polish revolutionaries. As he settled into Parisian society, Chopin harbored hopes that he could soon return to Poland once the political atmosphere had settled down. This dream, however, was never realized. Throughout all this Chopin nevertheless kept the vision of his homeland alive in the composition of Polish dances—namely, mazurkas and polonaises. While the mazurka was in most cases for Chopin a vehicle for wistful and melancholy remembrances of his homeland, his polonaises, on the other hand, were often extroverted dances, buoyant with national pride or filled with passionate feelings for Poland.

Composed in 1835, the 2 Polonaises, op. 26 were the first of their kind to be published during Chopin’s lifetime. Yet, they were not his first essays in the form, but were in fact preceded by nine other dances that would remain unprinted until after the composer’s death. In the keys of C-sharp minor and E-flat minor, respectively, (the latter key being one certainly not found often as the principal key of a piece or movement), both dances are sad and melancholy. Indeed, given their year of composition, Chopin was likely still longing to return to his homeland, and this sentiment came forth easily in his music.

The first Polonaise, in C-sharp minor, opens with vigorous octaves that precede a passionate theme of somewhat ambiguous tonality, wavering at moments between C-sharp major and minor. Yet, this uncertainly only heightens the dance’s melancholic tone, effectively portraying the close proximity of moments of hope and anxiety. The central episode turns to the key of the tonic major featuring a lyrical and endearing melody. Despite its initial graceful beginning, the episode loses none of the passion of that which came before it. Quite exceptionally, the Polonaise closes with a da capo repeat of the opening C-sharp minor section.

Though marked Maestoso, the second Polonaise, in E-flat minor, begins rather ominously, building from a quiet octave figure to an agitated main theme. The succeeding theme, however, in G-flat major is more rambunctious, yet is short-lived and the dance falls back into the dispirited melancholy of the opening. Changing to the key of B major, the central episode returns to the material of G-flat major melody heard earlier but this time with a quieter and more restrained demeanor. The opening material is reprised and the polonaise concludes quietly and unsettled.       Joseph DuBose