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작성자디지터르 조회 38회 작성일 2020-09-23 07:35:55 댓글 0

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쇼팽 발라드 전곡

# 달마가 좋아하는 "쇼팽 발라드 전곡" 입니다 ~~~ ^^

# 많은 음악들이 "달마네 나눔터" 채널에 가득 합니다 ~~~ ^^

# "달마네 나눔터" 채널로 오셔서 "구독" 누르기를 하시면
달마의 새로운 소식들을 알림으로 전해 드립니다 ~~~ ^^
백합 : 영화배우시다 지금 태어나셨씀 아름딥다
얼굴이 말해주네요 ㅅㅅ
Beethoven Ludwig van : 3번 제 취향
You You : 34:22
이대하 : 34:22
ny Jin : 이어폰을 꼽고 들으니 쇼팽 발라드 1번 연주 후반부에 숨소리가 들리니
수정 등 고려해주셨으면 좋겠습니다.
하양 : 23:15

Seong-Jin Cho | Chopin 4 Ballades | LIVE Video 2017

Seong-Jin Cho, first prize winner of the XVII International Chopin Piano Competition (2015), plays Frédéric Chopin's 4 Ballades:

- Ballade no.1 in G minor, op.23
- Ballade no.2 in F major, 38
- Ballade no.3 in A flat major, op.47
- Ballade no.4 in F minor, op.52

LIVE - July 2017 - Flagey, Brussels
Eric Nyberg : I don't love his interpretation of the No.1 (a bit too much rubato with the first theme) and No. 4 (toooo slowwww on many phrases, e.g., between 30:00-31:00). But I feel like he's shed new light for me on Nos. 2 and 3. it was like I was hearing No. 3 with fresh ears! While I wish he played these Ballades more brightly "straight" overall, without as much tempo fluctuation, I still must applaud his performance. Performing all 4 Chopin Ballades is a major mental and physical challenge for any pianist, and he pulled it off. He is a sensitive musician who seems to want to wring as much feeling out of every phrase as possible. Bravo and good on him for taking First Prize at the Chopin Competition.
meetrieum : 박수..골때린다 진짜
무화과죠아 : 모든 영상이 레전드... 온몸에 전율이 흐른다!!!!!최고 갓성진
April cho : 조성진은 앨범보다 연주영상이 훨 씬 좋다
Gab Borja : 26:35 omg the nod, he probably dissapointed
Vault Boy : 26:34
Judging by his nod, he probably didn’t enjoy his performance on that ballade or the timing on the last four chords. It was probably the ending because of the last chord’s placement. Instead of holding the second last chord, he rushed to the last chord.
Julius Young : 39:50
Jacky Martin : Other performers appear to be playing with hobnailed shoes, his fingers are sensitive feathers;
OK Nevermind : Love it!
Tachibana-no Miyo : Amazing his inspirations for tones

Chopin: 4 Ballades (Zimerman)

Easily one of the best Chopin recordings ever made.
[Highlights/comments below]

00:00 -- Ballade Op.23 No.1 in G minor
09:36 -- Ballade Op.38 No.2 in F (A minor)
17:28 -- Ballade Op.47 No.3 in A-flat
24:57 -- Ballade Op.52 No.4 in F minor

A milestone in the Romantic piano literature, and a stupendous recording of it. The number of great moments in this is probably too great to count (06:48, 08:03, 15:52, 18:40, 24:23, with many more in between, and the entire 4th Ballade is a single unbroken wonder from its miraculous beginning onward -- although see the famous passage at 28:36, and the numinous 34:18).

Chopin is -- popularly, but not critically -- seen primarily as a great melodist, which reputation does him a great disservice. In the Ballades Chopin does something which Beethoven reserved for his sonatas (and which Chopin never did in his), which was to introduce daring and very effective structural modifications to Sonata form. One obvious example of such a novelty is the "mirror reprise", where the two expositional themes appear in reverse order during the recapitulation.

There are many moments of harmonic/stuctural interest in the Ballades, and some of them have become quite famous. I can't possibly go through everything, so I'll try to flag some things out.

-- The unusual extended Neapolitan Sixth that opens Op.23.
-- The D in m.7 of the Op.23 -- it is a subject of considerable debate if this is a harmonic necessity, setting up a late resolution, or an implied pedal point
-- Constant metrical changes in Op.23.
-- The unusual key relationship between the two main themes of Op.38.
-- The abrupt end of the post-recapitulation development section (in itself odd) of Op.38.
-- The structural role of the opening gesture of the Op.47. It very clearly recurs near the end, but on cursory examination occurs nowhere else in the piece. (It is not actually difficult, with a bit of thought, to figure out how the opening bars feed into the rest of the piece.)
-- The use of dissonances, some passing and some sustained, as an architectural device in op.38.
-- The rather surprising combination of variation/sonata form in Op.52 (something Liszt did more conspicuously in his B Minor Sonata.)
-- The use of counterpoint as dramatic device in Op.52 at numerous points.
-- The rather Beethovenian expected-but-not-actually-there ending in Op.52.
-- Chromaticism in the coda of the Op.52 so intense the section aurally drifts somewhere close to atonality.
Андрей Бахарковскй : Chopin, i love you.
D D : 8:00 34:50
sofia lopez : chopin is a master+
Baladur Dekarma : 28:36
Alexandre Claude Pinto : https://www.youtube.com/channel/UCGRXEqpZti08h41fl2OUSiQ?view_as=subscriber
If you really enjoy my content, you're welcome to support me and my channel with a like and a subscribe ;)
Zaid Ahmad : How did a single Human compose this? It's frustrating how under appreciated and underrated this is
Arevilov 3 : I’m 14 and have been self-learning music for the last 2 years how much time would it take for me to learn ballade 4?
Arevilov 3 : #1 makes the listener go through a story with a large amounts of emotions and what I like about #4 is that it depicts a beautiful concept which is its main theme. It shows through all the complexity, in the last only a single simple melody comes out. I won’t be able to translate it properly as I can’t just translate music into words with google translate
GRAND MASTER : 1
4
3
2
Andrés Daniel : 8:43 Isn't that funny? I always expect Happy birthday's tune in that minute, even if it's not explicitly there.

... 

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