Andante spianato and Grande Polonaise brillante op. 22 Edited from the sources, Fingerings and Notes on Interpretation by Christian Ubber 肖邦 行板 大波兰舞曲 音符诠释 钢琴独奏 维也纳原典版

肖邦《波罗乃兹辉煌舞曲作品 22》的起源可以追溯到他在华沙的青年时代，以及他作为演奏家第一次旅行的岁月。这首作品被设计为与乐队合作的音乐会曲目，在肖邦的波罗乃兹舞曲中占有特殊地位。不过，按照传统，这部作品一直作为极富感染力的独奏曲来演奏。由于没有亲笔签名存世，因此采用了不同的初版印刷本作为数据源。比较表明，英文初版本一定是以肖邦的亲笔手稿为基础的。因此，本新版对这一英文版的评价比以往更高。因此，一般被视为最重要数据源的法文定本中存在的大量差异和遗漏得以澄清和补充。释义注释不仅解释了相对罕见的 "spianato "一词，还介绍了肖邦演奏颤音和附点音符的方式以及肖邦的rubato速度。为此，我们对作曲家身边的数据进行了评估，如他的学生卡罗尔-米库利的留言"

作曲家: Chopin, Frédérice
校订者: Ubber, Christian
乐器: piano
出版社: Wiener Urtext Edition
原文简介:
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.