Advanced
Nocturnes, Op.9
3:40
浏览 21 首琴谱
排序：
歌曲库
在 Zen Virtual Piano 探索 Frédéric Chopin 的钢琴琴谱。 All of Chopin’s family had artistic leanings, and even in infancy he was strangely moved listening to his mother or his eldest sister playing the piano. By age six he was already trying to reproduce what he heard or to make up new tunes. The following year he started piano lessons with Wojciech Zywny, whose simple instruction he soon left behind, discovering for himself an original approach to the piano and developing unhindered by academic rules. At eight he made his first public appearance at a charity concert, and three years later he performed in the presence of the Russian tsar Alexander I, who was in Warsaw to open Parliament. Playing in public at eight and before a tsar at eleven, and developing free of academic rules, suggests a talent shaped more by performing than by the schoolroom. In March and October 1830 Chopin presented his new works to the Warsaw public and then left Poland, intending to visit Germany and Italy for further study. He had gone no farther than Vienna when news reached him of the Polish revolt against Russian rule. Plans for study in Germany and Italy that went no farther than Vienna suggest how closely his course was bound to events at home. Chopin established ties with many Polish émigrés and with a younger generation of composers, including Franz Liszt and Hector Berlioz. The Nocturnes, Op. 9 are a set of three nocturnes for solo piano written by Chopin between 1831 and 1832, published in 1832, and dedicated to Madame Marie Pleyel. His piano works include two startlingly poetic books of études (1829–36), the Ballade in G Minor (1831–35), the Fantaisie-Impromptu (1835) and many smaller pieces, among them mazurkas and polonaises inspired by his strong nationalist feeling. Mazurkas and polonaises inspired by nationalist feeling, from a composer whose journey was cut short by a revolt at home, suggest music that stayed tied to Poland. His method permitted great flexibility of the wrist and arm and daringly unconventional fingering in the interests of agility, with the production of a beautiful, singing tone a prime requisite at nearly all times. Fingering chosen for agility, with a singing tone a prime requisite at nearly all times, suggests that the sound he wanted shaped how his hands were taught to move. Chopin produced much of his most searching music at Nohant, among it the Fantaisie in F Minor (1840–41), the Barcarolle (1845–46), the Polonaise-Fantaisie (1845–46) and the Sonata in B Minor (1844). Although he wrote little but piano works, many of them brief, he ranks as one of music’s greatest tone poets by reason of his superfine imagination and fastidious craftsmanship. Ranking among the great tone poets while writing almost only for one instrument shows how much a single keyboard could hold.
在 Zen Virtual Piano 探索 Frédéric Chopin 的钢琴琴谱。
All of Chopin’s family had artistic leanings, and even in infancy he was strangely moved listening to his mother or his eldest sister playing the piano. By age six he was already trying to reproduce what he heard or to make up new tunes. The following year he started piano lessons with Wojciech Zywny, whose simple instruction he soon left behind, discovering for himself an original approach to the piano and developing unhindered by academic rules. At eight he made his first public appearance at a charity concert, and three years later he performed in the presence of the Russian tsar Alexander I, who was in Warsaw to open Parliament. Playing in public at eight and before a tsar at eleven, and developing free of academic rules, suggests a talent shaped more by performing than by the schoolroom.
In March and October 1830 Chopin presented his new works to the Warsaw public and then left Poland, intending to visit Germany and Italy for further study. He had gone no farther than Vienna when news reached him of the Polish revolt against Russian rule. Plans for study in Germany and Italy that went no farther than Vienna suggest how closely his course was bound to events at home.
Chopin established ties with many Polish émigrés and with a younger generation of composers, including Franz Liszt and Hector Berlioz.
The Nocturnes, Op. 9 are a set of three nocturnes for solo piano written by Chopin between 1831 and 1832, published in 1832, and dedicated to Madame Marie Pleyel. His piano works include two startlingly poetic books of études (1829–36), the Ballade in G Minor (1831–35), the Fantaisie-Impromptu (1835) and many smaller pieces, among them mazurkas and polonaises inspired by his strong nationalist feeling. Mazurkas and polonaises inspired by nationalist feeling, from a composer whose journey was cut short by a revolt at home, suggest music that stayed tied to Poland.
His method permitted great flexibility of the wrist and arm and daringly unconventional fingering in the interests of agility, with the production of a beautiful, singing tone a prime requisite at nearly all times. Fingering chosen for agility, with a singing tone a prime requisite at nearly all times, suggests that the sound he wanted shaped how his hands were taught to move. Chopin produced much of his most searching music at Nohant, among it the Fantaisie in F Minor (1840–41), the Barcarolle (1845–46), the Polonaise-Fantaisie (1845–46) and the Sonata in B Minor (1844). Although he wrote little but piano works, many of them brief, he ranks as one of music’s greatest tone poets by reason of his superfine imagination and fastidious craftsmanship. Ranking among the great tone poets while writing almost only for one instrument shows how much a single keyboard could hold.
搜索乐库