P.Q.P. Bach

Pois é, de vez em quando a gente viaja na maionese. Talvez por estar no 0800 da minha operadora de celular, acabei fazendo uma tremenda confusão e postei o segundo concerto de Chopin com o link do Vivaldi. E quando fui tentar resolver a bobagem, acabei apagando a postagem. Não sei quantos perceberam o problema. De qualquer forma, aqui está o Concerto para Piano n°2, sempre com a diva Maria João Pires, mas desta vez com o André Previn à frente da Royal Philharmonic Orchestra e com o link correto.

1. Piano Concerto No. 2 in F minor, Op. 21, CT. 48: Maestoso
2. Piano Concerto No. 2 in F minor, Op. 21, CT. 48: Larghetto
3. Piano Concerto No. 2 in F minor, Op. 21, CT. 48: Allegro vivace
4. Preludes (24) for piano, Op. 28, CT. 166-189: No. 1 in C major, ‘Reunion’
5. Preludes (24) for piano, Op. 28, CT. 166-189: No. 2 in A minor, ‘Presentiment of Death’
6. Preludes (24) for piano, Op. 28, CT. 166-189: No. 3 in G major, ‘Thou art so like a flower’
7. Preludes (24) for piano, Op. 28, CT. 166-189: No. 4 in E minor, ‘Suffocation’
8. Preludes (24) for piano, Op. 28, CT. 166-189: No. 5 in D major, ‘Uncertainly’
9. Preludes (24) for piano, Op. 28, CT. 166-189: No. 6 in B minor, ‘Tolling Bells’
10. Preludes (24) for piano, Op. 28, CT. 166-189: No. 7 in A major, ‘The Polish Dance’
11. Preludes (24) for piano, Op. 28, CT. 166-189: No. 8 in F sharp minor, ‘Desparation’
12. Preludes (24) for piano, Op. 28, CT. 166-189: No. 9 in E major, ‘Vision’ Listen
13. Preludes (24) for piano, Op. 28, CT. 166-189: No. 10 in C sharp minor, ‘The Night Moth’
14. Preludes (24) for piano, Op. 28, CT. 166-189: No. 11 in B major, ‘Dragon Fly’
15. Preludes (24) for piano, Op. 28, CT. 166-189: No. 12 in G sharp minor, ‘Duel’
16. Preludes (24) for piano, Op. 28, CT. 166-189: No. 13 in F sharp major, ‘Loss’
17. Preludes (24) for piano, Op. 28, CT. 166-189: No. 14 in E flat minor, ‘Fear’
18. Preludes (24) for piano, Op. 28, CT. 166-189: No. 15 in D flat major, ‘Raindrop’
19. Preludes (24) for piano, Op. 28, CT. 166-189: No. 16 in B flat minor ‘Hades’
20. Preludes (24) for piano, Op. 28, CT. 166-189: No. 17 in A flat major, ‘A Scene on the Place de Notre Dame de Paris’

Maria João Pires – Piano
Royal Philharmonic Orchestra
André Previn – Conductor

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Ah, esses concertos para piano de Chopin.. como já os ouvi! como já me comoveram nas mais diversas situações de minha vida… E ao contrário de muita gente, meu favorito é o primeiro, com sua melodia marcante e com seu romantismo exacerbado. Desde a primeira versão a que tive acesso, claro que com o bom velhinho Arthur Rubinstein, Kristian Zimerman, Martha Argerich, enfim, todos as versões que tive a oportunidade de ouvir tem suas qualidades. Inclusive esta que ora vos trago, com a portuguesa Maria João Pires. Aparentemente mais lenta que outras gravações, na verdade vejo, ou entendo, esta leitura como sendo uma releitura, uma busca nas entrelinhas, uma busca de algo que nunca foi divulgado ou revelado. Mais emotiva, mais delicada, seu dedilhado não é tão forte e decidido quanto a versão de Argerich, por exemplo, ou incisiva quanto a do então adolescente Eugeny Kissin.
Enfim, abstrações à parte, só sei que adoro este concerto, e esta gravação da Maria João Pires foi uma das que mais me comoveu, principalmente pelo Romance do segundo movimento. Tocante, emocionante, não consigo imaginar um homem tocando esse movimento com tamanha paixão e sensibilidade, com todo o respeito que tenho por Zimerman, Rubinstein, Horowitz, etc. Pensei em outras versões, inclusive a do então jovem Kristian Zimerman (procurem aí ao lado a gravação mais recente dele, é uma das minhas postagens que mais tiveram downloads, mais de 1000 até dia desses), ou a do próprio Rubinstein, mas optei pela da portuguesa mesmo. Espero que os senhores gostem. Se não gostarem, bem, que posso fazer?
Claro que considero esse CD IM-PER-DÍ-VEL !!!

Abaixo a continuação da biografia de Chopin tirada do site http://www.chopin.pl/biography_chopin.en.html

In the autumn of 1831 Chopin arrived in Paris where he met many fellow countrymen. Following the national defeat, thousands of exiles, including participants of the armed struggle, politicians, representatives of Polish culture, such as the writer Julian Ursyn Niemcewicz, Romantic poets A. Mickiewicz and Juliusz Slowacki, and the Warsaw friends of Chopin, the poets Stefan Witwicki and Bohdan Zaleski, sought refuge from the Russian occupation in a country and city which they found most friendly. Chopin made close contacts with the so-called Great Emigration, befriended its leader Prince Adam Czartoryski, and became a member of the Polish Literary Society, which he supported financially. He also attended emigré meetings, played at charity concerts held for poor emigrés, and organised similar events. In Paris, his reputation as an artist grew rapidly. Letters of recommendation which the composer brought from Vienna allowed him immediately to join the local musical milieu, which welcomed him cordially. Chopin became the friend of Liszt, Mendelssohn, Ferdinand Hiller, Berlioz and Auguste Franchomme. Later on, in 1835, in Leipzig, he also met Schumann who held his works in great esteem and wrote enthusiastic articles about the Polish composer. Upon hearing the performance of the unknown arrival from Warsaw, the great pianist Friedrich Kalkbrenner, called the king of the piano, organised a concert for Chopin which took place on the 26th of February 1832 in the Salle Pleyel. The ensuing success was enormous, and he quickly became a famous musician, renowned throughout Paris. This rise to fame aroused the interest of publishers and by the summer of 1832, Chopin had signed a contract with the leading Parisian publishing firm of Schlesinger. At the same time, his compositions were published in Leipzig by Probst, and then Breitkopf, and in London by Wessel.
The most important source of Chopin’s income in Paris was, however, from giving lessons. He became a popular teacher among the Polish and French aristocracy and Parisian salons were his favourite place for performances. As a pianist, Chopin was ranked among the greatest artists of his epoch, such as Kalkbrenner, Liszt, Thalberg and Herz, but, in contrast to them, he disliked public performances and appeared rarely and rather unwillingly. In a friendly, intimate group of listeners he disclosed supreme artistry and the full scale of his pianistic and expressive talents.

Fryderyk Franciszek Chopin – Piano Concerto n°1, 04. Fantaisie in F minor, op. 49, 05. Fantaisie-Impromptu in C sharp minor, op. 66, 06. Berceuse in D flat major, op. 57

01. Piano Concerto n°1 1. Allegro maestoso. Risoluto
02. 2. Romance. Larghetto
03. 3. Rondo. Vivace
04. Fantaisie in F minor, op. 49
05. Fantaisie-Impromptu in C sharp minor, op. 66
06. Berceuse in D flat major, op. 57

Maria João Pires – Piano

Chamber Orchestra of Europe

Emmanuel Krivine – Conductor

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Continuando a saga chopiniana, aqui temos outra gravação histórica, Maurizio Pollini tocando os Estudos, op. 10 e op. 25. Claro que não é por acaso que estou colocando esta versão. Temos aqui no blog um grande defensor do pianista italiano. Admiro Pollini, mas confesso que não é meu pianista favorito, mas nem por isso deixo de admirá-lo. Entra aqui uma questão extremamente pessoal: o intelectual sobre o emocional. Explico em poucas palavras: muitos acusam o italiano de ser por demais cerebral, não se deixa levar pela emoção, é contido onde poderia extravasar.Como isso é uma questão extremamente pessoal, deixarei para discuti-la em outra ocasião. Como o que nos interessa aqui é a música de Chopin, vamos a ela.

Upon his return to Warsaw, Chopin, already free from student duties, devoted himself to composition and wrote, among other pieces, two Concertos for piano and orchestra: in F minor and E minor. The first concerto was inspired to a considerable extent by the composer’s feelings towards Konstancja Gladkowska, who studied singing at the Conservatory. This was also the period of the first nocturne, etudes, waltzes, mazurkas, and songs to words by Stefan Witwicki. During the last months prior to his planned longer stay abroad, Chopin gave a number of public performances, mainly in the National Theatre in Warsaw where the première of both concertos took place. Originally, his destination was to be Berlin, where the artist had been invited by Prince Antoni Radziwill, the governor of the Grand Duchy of Poznan, who had been appointed by the king of Prussia, and who was a long-standing admirer of Chopin’s talent and who, in the autumn of 1829, was his host in Antonin. Chopin, however, ultimately chose Vienna where he wished to consolidate his earlier success and establish his reputation. On 11 October 1830, he gave a ceremonial farewell concert in the National Theatre in Warsaw, during which he played the Concerto in E minor, and K. Gladkowska sang. On 2 November, together with his friend Tytus Woyciechowski, Chopin left for Austria, with the intention of going on to Italy. Several days after their arrival in Vienna, the two friends learnt about the outbreak of the uprising in Warsaw, against the subservience of the Kingdom of Poland to Russia and the presence of the Russian Tsar on the Polish throne. This was the beginning of a months-long Russo-Polish war. T. Woyciechowski returned to Warsaw to join the insurgent army, while Chopin, succumbing to the persuasion of his friend, stayed in Vienna. In low spirits and anxious about the fate of his country and family, he ceased planning the further course of his career, an attitude explained in a letter to J. Elsner: “In vain does Malfatti try to convince me that every artist is a cosmopolitan. Even if so, as an artist, I am still in my cradle, as a Pole, I am already twenty; I hope, therefore that, knowing me well, you will not chide me that so far I have not thought about the programme of the concert”. The performance ultimately took place on 11 June 1831, in the Kärtnerthortheater, where Chopin played the Concerto in E minor. The eight months spent in Vienna were not wasted. Strong and dramatic emotional experiences inspired the creative imagination of the composer, probably accelerating the emergence of a new, individual style, quite different from his previous brilliant style. The new works, which revealed force and passion, included the sketch of the Scherzo in B minor and, above all, the powerful Etudes from op. 10. Having given up his plans for a journey to Italy, due to the hostilities there against Austria, Chopin resolved to go to Paris. On the way, he first stopped in Munich where he gave a concert on the 28th of August and then went on to Stuttgart. Here he learnt about the dramatic collapse of the November Uprising and the capture of Warsaw by the Russians. His reaction to this news assumed the form of a fever and nervous crisis. Traces of these experiences are encountered in the so-called Stuttgart diary: “The enemy is in the house (…) Oh God, do You exist? You do and yet You do not avenge. – Have You not had enough of Moscow’s crimes – or – or are You Yourself a Muscovite […] I here, useless! And I here empty-handed. At times I can only groan, suffer, and pour out my despair at my piano!”.

Fryderyk Franciszek Chopin (1810-1849) – Etudes, op. 10 & 25

01 – Etude op.10 No.1 in C major_ Allegro

02 – Etude op.10 No.2 in A minor_ Allegro ‘chromatique’

03 – Etude op.10 No.3 in E major_ Lento, ma non troppo ‘Tristesse’

04 – Etude op.10 No.4 in C sharp minor_ Presto

05 – Etude op.10 No.5 in G flat major_ Vivace ‘Black Keys’

06 – Etude op.10 No.6 in E flat minor_ Andante

07 – Etude op.10 No.7 in C major_ Vivace

08 – Etude op.10 No.8 in F major_ Allegro

09 – Etude op.10 No.9 in F minor_ Allegro, molto agitato

10 – Etude op.10 No.10 in A flat major_ Vivace assai

11 – Etude op.10 No.11 in E flat major_ Allegretto

12 – Etude op.10 No.12 in C minor_ Allegro con fuoco ‘Revolutionary’

13 – Etude op.25 No.1 in A flat major_ Allegro sostenuto ‘Harp Study’ 1

4 – Etude op.25 No.2 in F minor_ Presto 1

15 – Etude op.25 No.3 in F major_ Allegro

16 – Etude op.25 No.4 in A minor_ Agitato

17 – Etude op.25 No.5 in E minor_ Vivace

18 – Etude op.25 No.6 in G sharp minor_ Allegro

19 – Etude op.25 No.7 in C sharp minor_ Lento

20 – Etude op.25 No.8 in D flat major_ Vivace

21 – Etude op.25 No.9 in G flat major_ Allegro assai ‘Butterfly Wings’

22 – Etude op.25 No.10 in B minor_ Allegro con fuoco

23 – Etude op.25 No.11 in A minor_ Lento – Allegro con brio ‘Winter Wind’

24 – Etude op.25 No.12 in C minor_ Molto allegro, con fuoco

Maurizio Pollini – Piano

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