***3 moves:
Allegro Solo in 1.E minor. The form follows the classical concerto form created by Mozart. The first theme is played by orchestral ensemble, and the second theme is played by strings in E major. After the piano appeared, these two themes were expressed skillfully and luxuriously, and then the presentation was ended with an orchestra. The development department is in C major, and the piano begins to deal with the second half of the first theme. Since then, these themes have undergone various major changes. The tone of the reproduction part was changed to G major, and finally reached a climax in the excitement of brilliant piano skills.
2. Romantic, adagio, E major, nocturne style. The theme is like a song character, which consists of two parts. The second half begins in B major, and enters the middle part of excitement after the intermission, and the slightly gloomy new theme in C minor appears with strong voice. After the theme is played, it goes back to the second half of the still complicated theme in G-sharp major for modification. The ending is made of overture material, decorated with scales and arpeggios, and then ends like smoke.
3. Rondo in E major, Allegro. Piano humorously induces the first theme and leads to interesting repetition. The way of insertion is very attractive to Mozart, and the ending is a gorgeous finale, which ends with the piano playing three high-pitched music streams.
Listening Report of Chopin's Piano Concerto No.1 10
1On September 22nd, 830, Chopin, who was only 20 years old, wrote to his friend Voitsekhovski excitedly, telling him that his Piano Concerto No.1 in E minor had been completed. My heart also showed excitement and anxiety: "But I feel like a novice, … just like I don't know anything about keyboards. This music is so novel that even I can't play it well. "
Among all Chopin's works, Piano Concerto No.1 in E minor is definitely a touching poem, especially its first movement, which always haunts my mind. It has a special position in the Bible in my heart. My fascination with Chopin began with this concerto, and it is still my favorite until today, so that when I interpret Chopin's works, I always like to take the recording of this concerto as an important reference to measure the weight of a pianist. Up to now, I have heard dozens of recordings of Chopin's Piano Concerto No.1 in E minor, and I have 20 versions at hand now, and they are still increasing. These performances have their own characteristics. The following is my listening experience of 10. I am willing to communicate with you.
1, Porini Piano/Clake Key Conductor Philharmonic Orchestra.
1960, Pauline recorded this concerto immediately after winning the first prize in Chopin's piano competition, and became famous in one fell swoop. This is also Polini's earliest recording, which was recommended by Penguin (named Samsung with Flowers) and Japanese recording arts. Almost every fan has one. This is really one of the top performances of this song. At this time, 18-year-old Bolini was full of high spirits and lofty sentiments. His performance is like green grass that has just turned green in spring, full of optimism, cheerfulness and passion for love that young talents have, without affectation. Sensitive and delicate touch keys, elegant and stable rhythm, clear lines and impeccable skills. Especially in the third movement, it is really like a deer running, which makes people's brains wide open. Perhaps the only regret is that it is difficult for us to feel Chopin's unique sadness in it. Unfortunately, this precious quality is hard to hear in Pauline's later records. After following Michelangeli for several years, he retired. Although his skill reached its peak after his comeback, almost all Chopin's records became high-quality "collectibles".
2. Agrich piano/abbado commanded Berlin Philharmonic.
As the champion of 1965 Chopin competition, Agrich is also famous for playing Chopin Concerto. He is a recording master of 1968 and a remake of 1996. The Piano Concerto No.1 in E Minor, which she collaborated with abbado, can be said to be a natural top grade and the most popular version of Chopin Concerto. Many boys and girls are fascinated by this version. Agrich spoke with her trademark slightly faster speed, and she was full of confidence as soon as she appeared. She demonstrated her exquisite skills with touching passion and elegant timbre. Her quick finger movement is like a master performer, and her performance does not lose the freshness and beauty of her works. However, this version can no longer satisfy me. The general feeling is that there is more enthusiasm and less restraint. So are most of her other records. It was great and enjoyable when I first listened to it, but I didn't want to listen to it after a long time. Perhaps the rich feelings have not been rationally refined, and the touch can only be temporary. What really lives in people's hearts is actually artistic thought.
3. Agrich piano/Dutois conducts the Montreal Symphony Orchestra.
First of all, the introduction of the Montreal Symphony Orchestra under the baton of Dutois seems to have a stronger symphony flavor, especially the paragraphs where the piano enters at the beginning and end of the introduction. This approach seems to show all the important themes of the campaign more clearly and forcefully. Agrich, re-recording this concerto after more than 20 years, is even more charming. This master Zhang Yang, who never knew what it was like to be short of skills, played this song brilliantly and made the piano sound more gorgeous. Speaking of regret, although compared with more than 20 years ago, Agrich did not intend to vent his lofty sentiments here, it still made people feel a lack of grace and wisdom. This may be Agrich's characteristic, and we can't be demanding any more. It should be emphasized that the sound quality of the new film is more crystal clear and the charm is more sonorous. It's no exaggeration to do piano exams.
Piers Piano/kleven conducts the European Chamber Orchestra.
This is the recording I have listened to the most in recent years, and it is also the most suitable version for me at present. At the beginning, the theme of beautiful melody and pure classical minor was particularly fresh under the performance of European Chamber Orchestra conducted by kleven, which laid an excellent foundation for piano solo. Pierce's piano sound conveys fresh, gorgeous, soft and deep charm as soon as it enters. Can not help but remind people of her beautiful melody in Chopin's nocturne. Pierce can understand the poetic heart and pent-up enthusiasm hidden under the elegant aristocratic appearance of young Chopin. The main theme she played was wonderful, but the minor was full of melancholy. They set each other off and became interested, showing an obvious sadness, which is an excellent expression of Chopin's first love. Compared with Agridge's passion that often sparks, Pierce shows beauty in peace and emphasizes a kind of inner peace. The whole performance is highly completed, and the dense and smooth notes are mixed with thoughtful temperament. The sound of the piano is transparent and delicate, fragile and melancholy, calm and confident, and naturally has a noble atmosphere. The charming charm has reached the limit of music language, which makes people unable to extricate themselves. The 4D recording of 1998 is also excellent, which adds some transparency and sweetness to DG's consistent rich voice.
5. Fu Cong Piano/Tang Muhai conducts Warsaw Symphony Orchestra.
Mr. Fu Cong's Chopin is very famous, but it is also quite controversial. Sometimes I think Fu Cong pays more attention to the message he wants to convey to the audience than to the music itself. His experience and insight are undoubtedly a fortune. I used to listen to his nocturnes and Mazzuca records. Personally, I think they are all excellent, but the bad thing is that some works have a little more "theme first" feeling, which is a bit deliberate and unnatural. And this recording of Chopin's piano concerto makes me gasp in admiration, which is the best level in Fu Cong. In Piano Concerto No.1 in E minor, Fu Cong handled it differently. He seems to particularly emphasize the combination of rigidity and softness in Chopin's "Taking Stiffness with Flexibility". Attention! But this is still the combination of rigidity and softness in "Combining Stiffness and Flexibility" rather than the combination of rigidity and softness in Rubinstein's "Combining Stiffness and Flexibility", which is essentially different. Fu Cong brought us a light breeze and drizzle. His timbre is so beautiful, as cool and elegant as the rain and dew in early spring. He seems to pay special attention to the contrast of depth, attitude and transition, severity and movements are changing rapidly. Especially when the piano is interspersed back and forth in the orchestra, Fu Cong's performance is really colorful. The pace of the piano is as brisk as that of a rhythmic gymnast, which makes an excellent embellishment for the artistic conception of music performance, and also appreciates the unique feeling of Chopin's works from another side, which is very convincing. Another thing to say is that this CD recording is really good. The strings are sweet, clear and dynamic, and the sound of the piano is extremely beautiful and transparent. By the way, Chopin's Piano Concerto No.2 is also the best performance I have ever heard.
6. Zimmerman Piano/KiriI Kondrashin Conducts the Royal Concert Hall Orchestra.
Zimmerman is one of the few piano master I like in the world. In my mind, he is almost the embodiment of romance. 1975 won the Chopin competition and became the pride of the Polish piano industry. He once recorded Chopin's two piano concertos with the master Giulini, and the fans are very familiar with them. This recording was1March, 979. At that time, he and the orchestra of the Royal Concert Hall conducted by KiriI Kondrashin played live in the Royal Concert Hall, which was very touching. Everything is so simple and natural, and the choice of speed is also recognized by everyone. The overall feeling is so young and clear, and there is no impulse to squander passion because of youth. There is a calm elegance in the bones, and that subtle youthful atmosphere can only be described as "unspeakable". Especially the second movement was played wonderfully, which made people feel really excited.
7. Zimmerman Piano/Zimmerman Conducts Polish Festival Orchestra
Zimmermann re-recorded these two concertos before the 50th anniversary of Chopin's death/KLOC-0. He first formed a band and selected 50 young Polish musicians from 350 applicants, many of whom were soloists or ensemble members. They all praised zimmermann for helping zimmermann realize his dream regardless of time and remuneration. This CD was recorded under such conditions. To tell the truth, I was surprised and unacceptable at first, because he was so different from Chopin we heard before, and the speed was too slow. The first movement actually took 24 minutes and 25 seconds, which was 5 minutes slower than his "normal speed" 20 years ago. It was the slowest performance I have ever heard. After 20 years of wind and rain, zimmermann's romance and delicacy under the control of maturity and rationality are increasing day by day. His clauses and keys are more delicate and changeable, and the sharp contrast between strength and weakness shows more dramatic tension, perhaps because of his age. There are many sentimental sadness in the notes, and the faint sadness is mixed with sweet, fragile and thoughtful temperament. Touching and fascinating. The disadvantage is that there is sometimes a feeling of dying between paragraphs, and it seems that you can't get out when you are emotional. However, this is really commendable in contemporary times. We can see a real man's mood from it. He knows when to cry and when to get drunk. By the way, Di Yun said it was his favorite recording.
8. Rubinstein Piano/Skovazewski Conducts the New Philharmonic Orchestra.
When it comes to Chopin, it is natural to talk about Rubinstein. In the eyes of ordinary lovers, Chopin's music is Rubinstein's piano. Indeed, I began to listen to Rubinstein's Chopin. Perhaps Rubinstein's greatest contribution is that he injected masculinity into Chopin, making him different from Sharon's promiscuity and randomness. His performance of this concerto has a very balanced effect, the application of elastic speed is as low as possible, and the naturalness of expression ensures the realism of music, giving me an incomparable overall feeling of stability, as if trying to restrain something, such as the decadence and sadness unique to that era. What Rubinstein presents to us seems to be a middle-aged Chopin. After listening to it, people can't say what is wonderful, but the whole work has clear ideas and can stand repeated scrutiny. But I always feel that this kind of performance, though atmospheric, deviates from Chopin's soul a little, even though his style has reached a new height.
9.Francois Piano/Fremau conducted the Mon Dicaro Opera Orchestra.
Fran? ois's Chopin performance is artistic, poetic and brilliant, which has its unique charm. Of course, it is also controversial. Lovers are deified, and haters despise them. He is the best student in cortot, but he is very different from Chopin in cortot. Some critics say that the differences between them are just like those between Nietzsche and Sartre. Indeed, one is romantic philosophy, and the other is romantic philosophy. The recording of this concerto is proof. He abandoned cortot's gentle and poetic side and brought his loose and willful side to the extreme. Especially in the first movement, the theme of the main part is a little heavy and procrastinating, and too much hesitation and thinking are added to the connection part that should be fast-paced. When the theme of the deputy department came out, it was obviously accelerated and seemed very casual. The whole first movement is full of paroxysmal anxiety and impulse. The second and third movements are also different from the intense passion that most pianists play. Fran? ois plays lightly, the rhythm is very sharp and elastic, the timbre is crystal clear, the music becomes vivid and vivid, and the French style is exquisite, detached and elegant. Francois is really different. What we heard seemed to be a Chopin who was slightly drunk by red wine. This is a performance with strong personality.
10, Lipatti Piano/Ackerman Conducts Zurich Orchestra.
In the CD of Chopin Concerto I own, there are many mono recordings of the older generation masters, and I can almost write another one, but I still want to mention Lippati's Chopin Concerto No.1 here, although the recording is poor. Speaking of Lipatti, in the words of piano master Backhaus, "He brought us endless good memories and condolences." It is probably the most appropriate to understand the Chopin concerto he played. Lipatti's recording is the most romantic performance of the19th century I have ever heard. His gentleness trumps his lofty sentiments. What fascinates me most is that he shows Chopin's melancholy, dark sigh and sentimental feelings in great detail, which other pianists lack. It would be a pity if you missed this CD because of the recording.
On March 1830, 17, Piano Concerto No.2 in F minor was solo by Chopin and premiered in Warsaw.
The first movement: the violin plays a downward jumping tone, forming a strange melody, revealing the naive expression of a young composer who is addicted to meditation. The brisk melody flow instantly aroused the valley-like warm vibration of large bands, showing a strong passion for pursuit. Then, a beautiful phrase of the violin is like a wonderful Hongqiao, which leads the music to the second theme. The soft oboe plays a warm melody. The calm voice, whispering to the strings and playing with the band, brings Chopin's lingering feelings and ups and downs to this soft paragraph: the piano that appeared shows Chopin's superb skills as a piano poet. At present, orchestral music has been eclipsed. Gorgeous piano solo has opened up a vast sound world. Fantastic colors, delicate melodies and endless notes on the piano keyboard make the unfolded part change into a rich appearance. After a piano break, play the first theme. The horn goes with it, and the strings go with it. The reappeared passages become concise, and in the piano solo, the young composer's fantasy of love is integrated. The first movement ended with a powerful chord of the orchestra.
The second movement pinned the composer's deep affection for konstanz, a girl from Warsaw Conservatory of Music. Chopin turned the love contained in his heart into a stagnant and passionate note, burning the whole movement like a flame. The strings and woodwinds talk softly in the distance, like a timid composer talking to himself in vain. But the piano solo gradually ignited the flame of passion from the deep bass area, jumping on the vibrato and drifting in the chord; The voice of love in Chopin's heart became an octave melody, which was particularly pure and sincere. Then, this theme is generally hidden in the piano's flashing sound brilliance, and the beautiful and soft melody, like a girl with black hair and blue eyes, is faintly hidden in the sincere lyric lines of the piano poet. Chopin's enthusiasm in the middle was finally vented and poured out. The spring tide rolling on the piano came to my ears. At that time, the voice was strong and weak, and the voice was convergent. A crystal palace full of spring love was built in Chopin's heart. The copied love theme is obviously sold by the piano because it was put forward. But Daguan and its cordial dialogue seem to give a little comfort to the composer who has a crush on him. The piano's double notes are like starlight shining in the dark sky. The serenade of love is coming to an end in the whispers of strings and woodwinds. The piano suddenly attracted a series of slowly rising triplets with strong bass and climbed to a stable A-flat tonic. The echo of the call reflects the romantic beauty of the lover in the composer's mind Chopin resolutely stepped into the ranks of folk dances on the motherland before the bitter and soft love serenade. This is not to avoid hopeless love, but to melt love into heat. The last movement of this concerto is branded with traces of Polish folk music that Chopin loved all his life. Piano skillfully plays the theme of waltz, which brings people from lingering love to a broader life world. In the repetitive rhythm pattern of string-like sounds, the piano plays the second theme rudely. The active triplet, pulling back the tone, brings people into the fiery Mazzuca dance ranks. The big orchestra will stop. The French horn calls out the gorgeous sound flow of the piano with the sound of Mazzuca. The composer expressed his love for the nation and life. The concerto continued to pour in the unique triplet rhythm of Mazzuca dance music, and ended in a jubilant and fiery atmosphere.