By John Rink
Chopin's E minor and F minor Piano Concertos performed an essential position in his profession as a composer-pianist. Praised for his or her originality and genius whilst he played them, the concertos later attracted censure for ostensible weaknesses in shape, improvement and orchestration. additionally they suffered by the hands of editors and performers, all of the whereas ultimate significantly renowned. This guide re-evaluates the concertos opposed to the traditions that formed them in order that their many striking features might be totally liked. It describes their genesis, Chopin's personal performances and his use of them as a instructor. A survey in their serious, editorial and function histories follows, in training for an analytical 're-enactment' of the song - that's, a story account of the concertos as embodied in sound, instead of within the ranking. the ultimate bankruptcy investigates Chopin's enigmatic 'third concerto', the Allegro de live performance. Chopin: The Piano Concertos has received the Wilk publication Prize for learn in Polish track.
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Additional resources for Chopin: The Piano Concertos (Cambridge Music Handbooks)
21, 'and makes still more sensible the monotony resulting from the key-relation of the constituent parts, the tonic being the same in both subjects . . [and] not relieved till the commencement of the working-out section. 19 'Still, the movement is certainly not without beauty, although the themes appear somewhat bloodless, and the passages are less brilliant and piquant than those in the F minor Concerto. ' In contrast, the Romance exudes a 'cloying sweetness' while the coquettish third movement yields 'tricksy surprises'.
According to first-hand reports, Chopin often accompanied them on 'a cottage piano [pianino] by the side of the grand piano on which he gave his lessons', performing the role of the orchestra 'most wonderfully',44 whether privately or in front of a matinee audience. The glosses in scores used by his pupils and associates, whether in Chopin's own hand or transcribed by the latter, reveal much about his playing and teaching styles. Some correct typographical errors or omissions: for instance, in Franchomme's copy of Op.
21 lacks ideas and is conventional - 'without interest in its invention, the entire outline itself immature and fragmentary', the passagework derivative. Moreover, 'the orchestral part, which in the E minor Concerto was so interesting, is relegated to a secondary role in [Op. 17 Niecks's commentary18 significantly differs from Lenz's only in lavishing praise on Op. 21 while savaging Op. 11, but its impact on the reception of Chopin's concertos was without equal. In his view, Chopin 'lacked the peculiar qualities, natural and acquired, requisite for a successful cultivation of the larger forms': 'his arguments are poor and the conclusions often wanting', devoid of 'a sustained and dominating intellectual power'.