Konstanty Andrzej Kulka, Krzysztof Jabłoński, Tomasz Strahl - Chopin: The Pearls of Polish Music - Masterpieces of Polish Chamber Music 3 (2007) [Hi-Res]
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BAND/ARTIST: Konstanty Andrzej Kulka, Krzysztof Jabłoński, Tomasz Strahl
- Title: Chopin: The Pearls of Polish Music - Masterpieces of Polish Chamber Music 3
- Year Of Release: 2007
- Label: BeArTon
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 01:15:02
- Total Size: 346 mb / 1.44 gb
- WebSite: Album Preview
Tracklist
01. Piano Trio, Op. 8: I. Allegro con fuoco
02. Piano Trio, Op. 8: II. Scherzo con moto, ma non troppo
03. Piano Trio, Op. 8: III. Adagio sostenuto
04. Piano Trio, Op. 8: IV. Finale Allegretto
05. Polonaise Brillante for Piano and Cello, Op. 3
06. Grand Duo Concertante for Piano and Cello
07. Sonata, Op. 65: I. Allegro moderato
08. Sonata, Op. 65: II. Scherzo (Allegro con brio)
09. Sonata, Op. 65: III. Largo
10. Sonata, Op. 65: IV: Finale Allegro
![Konstanty Andrzej Kulka, Krzysztof Jabłoński, Tomasz Strahl - Chopin: The Pearls of Polish Music - Masterpieces of Polish Chamber Music 3 (2007) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-11/1637652947_2.jpg)
Chopin’s chamber music output comprises only four compositions. All of them are with cello, an instrument for Chopin had a special fondness. Three are for piano and cello, the other is for violin, cello and piano. In all four works the piano is assigned the principal role. Two of these compositions have earned a lasting place in 19th-century chamber music. The Piano Trio in G minor Op. 8, with violin and cello, is the earliest piece. Written in 1828-1829, during Chopin’s studies with Elsner and dedicated to Antoni Radziwiłł, the work has all the features of the transitional period in the composer’s career. It is placed between the achievements of the style brillant (Rondo á la Krakowiak) and Chopin’s first emanation display of Romanticism (Concerto in F minor). It goes beyond the virtuoso display in style brillant and is a foretaste of early-Romantic expression. Classical in form, the work exhibits evident references to Schubert’s music in its Beethovenian version, i.e. with a Scherzo as its second and an Adagio its third movement. The opening Allegro brings a somewhat unconventional departure from this pattern with its different order of keys – the same in the exposition (G minor/G minor) and contrasted in the reprise (G minor/D minor). The dance-like Scherzo, with its perfect symmetry, follows the canons of the Classical approach whereas the Adagio, with its lofty and passionate mood, is par excellence Romantic. The dance stylization of the final rondo is that of the krakowiak.
01. Piano Trio, Op. 8: I. Allegro con fuoco
02. Piano Trio, Op. 8: II. Scherzo con moto, ma non troppo
03. Piano Trio, Op. 8: III. Adagio sostenuto
04. Piano Trio, Op. 8: IV. Finale Allegretto
05. Polonaise Brillante for Piano and Cello, Op. 3
06. Grand Duo Concertante for Piano and Cello
07. Sonata, Op. 65: I. Allegro moderato
08. Sonata, Op. 65: II. Scherzo (Allegro con brio)
09. Sonata, Op. 65: III. Largo
10. Sonata, Op. 65: IV: Finale Allegro
Chopin’s chamber music output comprises only four compositions. All of them are with cello, an instrument for Chopin had a special fondness. Three are for piano and cello, the other is for violin, cello and piano. In all four works the piano is assigned the principal role. Two of these compositions have earned a lasting place in 19th-century chamber music. The Piano Trio in G minor Op. 8, with violin and cello, is the earliest piece. Written in 1828-1829, during Chopin’s studies with Elsner and dedicated to Antoni Radziwiłł, the work has all the features of the transitional period in the composer’s career. It is placed between the achievements of the style brillant (Rondo á la Krakowiak) and Chopin’s first emanation display of Romanticism (Concerto in F minor). It goes beyond the virtuoso display in style brillant and is a foretaste of early-Romantic expression. Classical in form, the work exhibits evident references to Schubert’s music in its Beethovenian version, i.e. with a Scherzo as its second and an Adagio its third movement. The opening Allegro brings a somewhat unconventional departure from this pattern with its different order of keys – the same in the exposition (G minor/G minor) and contrasted in the reprise (G minor/D minor). The dance-like Scherzo, with its perfect symmetry, follows the canons of the Classical approach whereas the Adagio, with its lofty and passionate mood, is par excellence Romantic. The dance stylization of the final rondo is that of the krakowiak.
Classical | FLAC / APE | HD & Vinyl
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