Andante spianato and Grande Polonaise brillante op. 22 Edited from the sources, Fingerings and Notes on Interpretation by Christian Ubber 蕭邦 行板 大波蘭舞曲 音符詮釋 鋼琴獨奏 維也納原典版
$650TWD
-
$650TWD
$650TWD
$650TWD
-
$650TWD
$650TWD
作曲家: Chopin, Frédérice
校訂者: Ubber, Christian
樂器: piano
出版社: Wiener Urtext Edition
原文簡介:
The genesis of Chopin's Polonaise brillante Op. 22 leads back to his youth in Warsaw and the years of his first trips as a virtuoso. Designed as a concert piece with orchestra, it takes up a special position among the polonaise compositions of Chopin. However, by tradition, the work has always been performed as an extremely effective solo piece. Since no autograph has survived, the various first prints are used as sources. Comparisons show that the English first edition must have been based on the autograph manuscript of Chopin. The present new edition therefore rates this English edition more highly than usual. Thus, numerous discrepancies and omissions in the French definitive edition which generally is regarded as the most important source can be clarified and complemented. The notes on interpretation not only explain the relatively rare term 'spianato' but also provide information on Chopin's way of playing trills and appoggiaturas as well as on Chopin's tempo rubato. For that, sources from the vicinity of the composer, such as messages from his pupil Karol Mikuli, are evaluated.
校訂者: Ubber, Christian
樂器: piano
出版社: Wiener Urtext Edition
原文簡介:
The genesis of Chopin's Polonaise brillante Op. 22 leads back to his youth in Warsaw and the years of his first trips as a virtuoso. Designed as a concert piece with orchestra, it takes up a special position among the polonaise compositions of Chopin. However, by tradition, the work has always been performed as an extremely effective solo piece. Since no autograph has survived, the various first prints are used as sources. Comparisons show that the English first edition must have been based on the autograph manuscript of Chopin. The present new edition therefore rates this English edition more highly than usual. Thus, numerous discrepancies and omissions in the French definitive edition which generally is regarded as the most important source can be clarified and complemented. The notes on interpretation not only explain the relatively rare term 'spianato' but also provide information on Chopin's way of playing trills and appoggiaturas as well as on Chopin's tempo rubato. For that, sources from the vicinity of the composer, such as messages from his pupil Karol Mikuli, are evaluated.