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작성자다스붸이다 조회 3회 작성일 2020-09-16 08:05:19 댓글 0

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Chopin - Cello Sonata in G minor, Op. 65 (Maria João Pires & Pavel Gomziakov)

00:00 - Allegro moderato\r
17:10 - Scherzo \r
22:45 - Largo \r
26:42 - Finale. Allegro\r
\r
Maria João Pires, piano\r
Pavel Gomziakov, cello\r
\r
2008
Wilfried Markus Bretscher : .......three divine creatures........
Jorge Alexandre Gouveia : Tive o prazer de ver no C C B á uns anos a actuação
John Stuart : Bravo! Sounds amazing!!
Allegro Moderato : https://sonhomadalena.blogspot.com/2019/12/chopin-cello-sonata-in-g-minor-op-65.html
keity k : Maravilhoso!
Cubanbearnyc : I love Ms. Pires !
Laura Cathey : Wow, thank you!
Helena L : I can’t stand this. Noise. Am i evil then?
Letícia Araujo : https://espiritoclassico.blogspot.com/2019/12/chopin-cello-sonata-in-g-minor-op-65.html
Hector Emilio Maceiras : Me parece una conjunción extraordinaria entre María Joao Pires y el violonchelo

[2014 GMMFS 대관령국제음악제] Chopin Cello Sonata in G minor, op.65

2014. 8. 2 (Sat) 2:00pm /
알펜시아 콘서트홀 Alpensia Concert Hall, PyeongChang, Korea

Chopin Cello Sonata in G minor, op.65
Allegro moderato
Scherzo: Allegro con brio (10:53)
Largo (15:37)
Finale: Allegro (19:36)

Jian Wang 지안 왕, Cello
Tae-Hyung Kim 김태형, Piano
눈누난나 : 0:40 15:38
나는요기 : What a fantastic performance!!!
즐거운 편지 : 프랑숌이 이만했을까요.   첼로 천재 지안 왕님의 연주는 더  아름답고 더 슬프고 더 격정적입니다.  아~~너무 좋아요. 가을이 끝날 때까지 무한 반복해야지.
zhongya zhang : Best!
axelvaillant : A pleasure to listen to a well balanced recording where the cello does not get lost behind the piano. Thanks.
Laura Navasardian : wow!
Jeff : Never enough!!! A great cellist!!! Superb performance!!!
Hamni햄 : 감동적이네요
손호용 : 직접 봤던 공연 다시 봐도 감동이네요

Frédéric Chopin - Cello Sonata in G minor

- Composer: Frédéric François Chopin (22 February or 1 March 1810 -- 17 October 1849)
- Performers: Truls Mørk (cello), Kathryn Stott (piano)
- Year of recording: 2006

Sonata for Cello \u0026 Piano in G minor, Op. 65, CT. 204, written in 1845-1846.

00:00 - I. Allegro moderato
15:07 - II. Scherzo. Allegro con brio
19:48 - III. Largo
24:01 - IV. Finale. Allegro

Chopin's cello sonata, Op. 65, was his last major work. Apart from the piano, the cello was the only instrument for which Chopin composed substantial amounts of music; in 1832 he had written the Grand Duo Concertant for the cellist Auguste Franchomme. In part because of the presence of the cello, and in greater part because of the formal characteristics of the piece, the composition of the cello sonata occupied Chopin for an unusually long period. He worked on it through 1845 and well into 1846, sketching and drafting as he had not done before, and at one point complaining to his sister, "I write a little and cross out a lot." Extant sketches show that Chopin did indeed discard an incredible amount of material and redrafted most of his ideas before deciding on the final form of the work. The piece was printed in Paris in 1847. Chopin and Franchomme premiered the sonata in Paris to great acclaim, in what was to be the last performance of Chopin's career.

Much of Chopin's anguish stemmed from his difficulties in the shaping the relationship between the two instruments. That he mostly composed the cello part first was perhaps at the heart of the matter, for Chopin was forced to curb his keyboard tendencies and remove himself from his natural idiom. It is no surprise that the piano part often sounds uncharacteristic of Chopin. Furthermore, because he chose to engage himself with the Germanic sonata idea, as he had in his piano sonatas, he had to set aside his predilection for ternary forms with codas and achieve contrast and develop logical structures in new and unfamiliar ways.

Chopin takes great care to distribute the material equally between the cello and piano, and he accomplishes this goal in a variety of ways. For instance, in the first group of themes in the first movement we hear passages of piano solo, piano with cello accompaniment, cello with a substantial piano counter-subject, cello with only light piano accompaniment, and counterpoint in which the two partners are equal. After the second group opens with rounded phrases for each instrument, a three-part invention involving both instruments ensues. The Germanic aspect of the movement becomes clear in Chopin's development of an integrated sonata form from a few related motives. Inversion and other transformations of motives from the first few measures occur even in the exposition. One of the cello's most important motives, a rising and falling half-step, comes not from the main theme but from prefatory material, and what seem like mere connective gestures evolve into parts of themes. It is not surprising that Chopin moves to the relative major (B flat), but what is striking is his path--a string of dominant-seventh harmonies--toward this goal. Throughout, Chopin diminishes the punctuating potential of his cadences by writing continuous melody over them, giving a sense of constant growth.

Chopin creates relationships among the four movements of the sonata through melodic references. The primary cello motive of the first movement, a rising and falling half-step, opens the lush second movement, the folksy scherzo, and the tarantella finale--further evidence that Chopin was consciously experimenting with German compositional methods. The clear divisions between cello and piano in the second movement contrast with the more integrated use of the instruments in the first movement, while the finale sounds, at times, like Mendelssohn. The end result is a unique, un-Chopinesque work.

The cello sonata is dedicated to Auguste Franchomme.
Aldo Ringo : Chopins last concert in Paris.
Jessica Kespohl : Beautiful! Chopin most likely influenced Rachmaninoff, I hear Rach's 1st sonata here.
Niklas Kohnenmergen : A very interesting video description, thank you for that!
0 2 : Wowowowoo
Niklas Fischer : Does anyone else hear reminiscences of the first movement of Chopin's 2nd piano sonata Op. 35 in the progressions 9:23 - and 14:13 -?
지또지 : 17:03
하드힐러 : 이건 뭐 반주자도 쇼팽피아노소나타 기교를 요하네
The Classical Nerd of Classical : more like a piano piece with some cello sneaked in there
spleen : imo 12:15 to 13:00 gives off the feeling of nostalgia or “wishing you were still in the past,” or something

like a dying person remembering their life
Jesse Kaiser : Pro tip: pianists appreciate it when you write important and active parts for them in collaborative works such as this. I love pieces like this where the two instruments swap the lead role and, at times, are equal. If one instrument takes the spotlight the whole time, it grows dull for me.

... 

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