Recorded in 1937. Transferred from a 78 rpm record.
Tatiana Goldfarb was a prominent Soviet pianist who was active before and after the Second World War. She was famous as an interpreter of Chopin's piano music.
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Three Écossaises, op. 72Frédéric Chopin
Though today he is known for his prolific contributions to the mazurka, polonaise and waltz, Chopin also experimented with other dances forms. As can be surmised, the results of the experiments were obviously unfavorable to the composer since he never returned to them. One such experiment was three écossaises composed during 1830 while Chopin was still a student in Warsaw. The écossaise was a type of contra dance of Scottish origins popular primarily in France and Great Britain (“écossaise” being French for “Scottish”) during the late 18th and early 19th centuries. It was a lively dance, typically in duple meter and often showcased sudden changes in dynamics. Chopin’s three contributions to the genre were never published during his lifetime—another sign Chopin did not consider them worthy compositions. They did not appear in print until 1855, published posthumously as part of his opus 72 alongside the early Nocturne in E minor and Marche funèbre.
The three écossaises are exceptionally brief compositions, all of them together lasting only mere minutes. The first, in D major, is lively and spirited with its prominent dotted rhythm. A single phrase of triplets in its middle section adds an extra burst of energy to the piece. The following piece, in G major, presents a nimble melody that at first descends gracefully down the tonic scale but then surges unexpectedly upward to conclude the phrase. The middle section introduces only the slightest bit of tension with harmonies taken from the relative minor and the sixteenth rhythms of the opening transferred to the bass. Lastly, the third piece in D-flat major creates the feeling of gaiety without any particular melody ever presenting itself, but instead merely decorates the principal harmonies of the tonic and runs joyously up and down its scale.Joseph DuBose
Classical Music | Piano Music
Frédéric Chopin
Ecossaise in D Major op. 72 Play
Recorded on 10/25/2009, uploaded on 10/25/2009
Musician's or Publisher's Notes
Recorded in 1937. Transferred from a 78 rpm record.
Tatiana Goldfarb was a prominent Soviet pianist who was active before and after the Second World War. She was famous as an interpreter of Chopin's piano music.
_______________________________________________
Three Écossaises, op. 72 Frédéric Chopin
Though today he is known for his prolific contributions to the mazurka, polonaise and waltz, Chopin also experimented with other dances forms. As can be surmised, the results of the experiments were obviously unfavorable to the composer since he never returned to them. One such experiment was three écossaises composed during 1830 while Chopin was still a student in Warsaw. The écossaise was a type of contra dance of Scottish origins popular primarily in France and Great Britain (“écossaise” being French for “Scottish”) during the late 18th and early 19th centuries. It was a lively dance, typically in duple meter and often showcased sudden changes in dynamics. Chopin’s three contributions to the genre were never published during his lifetime—another sign Chopin did not consider them worthy compositions. They did not appear in print until 1855, published posthumously as part of his opus 72 alongside the early Nocturne in E minor and Marche funèbre.
The three écossaises are exceptionally brief compositions, all of them together lasting only mere minutes. The first, in D major, is lively and spirited with its prominent dotted rhythm. A single phrase of triplets in its middle section adds an extra burst of energy to the piece. The following piece, in G major, presents a nimble melody that at first descends gracefully down the tonic scale but then surges unexpectedly upward to conclude the phrase. The middle section introduces only the slightest bit of tension with harmonies taken from the relative minor and the sixteenth rhythms of the opening transferred to the bass. Lastly, the third piece in D-flat major creates the feeling of gaiety without any particular melody ever presenting itself, but instead merely decorates the principal harmonies of the tonic and runs joyously up and down its scale. Joseph DuBose
More music by Frédéric Chopin
Waltz Op 64 / 2
Mazurka Op. 33 No. 1 in g-sharp minor
Prelude in F major, Op. 28, No. 23, Moderato
Nocturne in D-flat Major, Op. 27, No. 2
Fantaisie-Impromptu in C-sharp Minor, Op. 66
Impromptu no. 3 in G-flat major, op. 51
Barcarolle in F-sharp Major, Op. 60
Fantasy, Op. 49
Polonaise in F-sharp minor, Op. 44
Etude Op. 10, No. 11
Performances by same musician(s)
Etude Op. 10, No. 5 in G-flat Major
Etude Op. 25, No. 9 in G-flat Major
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