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Frédéric Chopin (1810-1849) Piano Sonatas 2,3, Barcarolle & Polonaise by György Sebök
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00:00 Sonata No. 2 in B flat minor, Op. 35: I. Grave - Doppio movimento
07:15 Sonata No. 2 in B flat minor, Op. 35: II. Scherzo
13:17 Sonata No. 2 in B flat minor, Op. 35: III. Marche funebre - Lento
22:30 Sonata No. 2 in B flat minor, Op. 35: IV. Finale - Presto
23:59 Sonata No. 3 in B minor, Op. 58: I. Allegro maestoso
33:06 Sonata No. 3 in B minor, Op. 58: II. Scherzo - Molto vivace
35:50 Sonata No. 3 in B minor, Op. 58: III. Largo
43:08 Sonata No. 3 in B minor, Op. 58: IV. Finale - Presto, ma non tanto
Polonaise in A Major, Op. 40 No. 1 "Military" • Polonaise in A Major, ...
Barcarolle in F sharp Major, Op. 60 • Barcarolle in F sharp ...
Piano: György Sebök
Recorded in 1956-63
New mastering in 2022 by AB for CMRR
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Following the extraordinary efflorescence of the sonata in the hands of Mozart, Haydn, Beethoven and Schubert, later composers such as Schumann, Brahms, Liszt and Chopin all found themselves struggling to give a new sense of direction to so prestigious a genre. It was a challenge to which they rose with alacrity and in various different ways. Chopin's sonatas, for example, reveal a desire for innovation and, in particular, a wish to make the structure of the work seem more spontaneous and less predictable. Unlike the B minor Sonata op. 58, which was written within a matter of months between August and December 1844, the far more complex B flat minor Sonata op. 35 occupied the composer over a period of several years. It was in 1837 that he first wrote what was to become the sonata's celebrated third movement. Recent analyses have shown how this Funeral March forms the poetic and thematic heart of the piece as a whole: although it was not until 1839 that Chopin began work on the other three movements, all of them bear more or less clear signs of the poetical imprint of the Funeral March. The first two movements rest upon violent contrasts, with the breathless, aggressive tone of the opening movement's first subject and the first section of the Scherzo offset by the intense lyricism of the first movement's second subject and the Trio. After the dramatic tension of the first two movements and the desolation of the third, the final movement brings the work to an end in an altogether surprising manner, the daring progressions of its ghostlike harmonies prompting Robert Schumann to declare it "songless". Its radical musical language inevitably elicited hostile reactions on the part of other writers, too.
Chopin's final B minor Sonata could hardly be more different. Made up of a mosaic of interrelated motifs, the opening movement attests to the composer's interest in polyphony - notably that of Johann Sebastian Bach - and to his study of counterpoint as set forth in the treatises of Cherubini and Jean-Georges Kastner. The two middle movements are less complex in character. As in the B flat minor Sonata, the Scherzo is in second position. The highly contrapuntal writing of the Trio contrasts with the virtuoso ascending runs of the first part of the Scherzo. The third movement has often been compared stylistically to the nocturnes, although its dotted rhythms are closer in character to those of a marcia funebre, albeit breathing a different spirit and suggesting, rather, the Trio of a distant funeral march. The sonata ends with an energetic and virtuoso Presto in rondo form. As in the other three movements, semitone intervals play an important role in structuring the thematic material. Pace Chopin's critics, the sonata's impressive dimensions and the astonishing interweaving of its various elements demonstrate beyond doubt the composer's mastery of large-scale form.
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Frédéric François Chopin PLAYLIST (reference recordings): • Frédéric François Chop...