Wednesday, July 22, 2015

Samson François Plays Chopin [I]

My piano heard nought but mazurs
(Chopin in a letter to his family, 1831)

Each of the mazurkas has an individual poetic feature, something distinctive in form or expression
(Schumann in a review, 1838)

The mazurkas — those famous dance miniatures — are the most numerous group of works by Fryderyk Chopin (fifty-seven). The composer published forty-one of them in eleven opuses, and two pieces separately (without opus number). The others remained in manuscript form.
Alongside the polonaises, they are the most "Polish" of Chopin's works. There would be no mazurkas without Polish folk dances and Polish folk music. With his mazurkas, Chopin forged an unparalleled model of the musical stylisation of traditional, national, authentic folk repertory.
Chopin composed mazurkas virtually throughout his life, from around 1825 (aged fifteen) to 1849. These miniatures came to form a weighty tome of the composer's most personal musical utterances, a lyrical ‘journal' of his life. It is perhaps in the mazurkas, more than in any other works, that Chopin allows the listener into his "heart's sanctuary".
Pianistically uncomplicated, the mazurkas display an inexhaustible wealth of melodic invention and of harmonic, rhythmic and, above all, expressive nuances. They demand of the pianist "at the same time an almost naive freshness and a mature mastery" (Tomaszewski). When making the first recording, in 1938-39, of the complete set of mazurkas, their great interpreter, Artur Rubinstein, demonstrated to the record producers in the studio the steps of Polish folk dances, in order to show them the character of these works.
And indeed, without an elementary knowledge of Polish folk music it is difficult to understand Chopin's mazurka idiom. Drawing on the Polish traditions of the folk mazurka, but also of the popular and stylised mazurka, the composer made direct reference to three folk dances which he knew well from numerous visits to the Polish countryside : the mazur, kujawiak and oberek. All three are in triple time and have a characteristic rhythm :

[dwie szesnastki dwie ósemki] lub [dwie ósemki dwie ćwierćnuty]

The mazur, lively and temperamental in character, in a quite brisk tempo, with a tendency towards irregular accents, forms the basis of many Chopin works (e.g. the Rondo à la Mazur, Op. 5, Mazurka in B-Flat major, Op. 7 n° 1). The second of the basic dances for the mazurka is the kujawiak (the name comes from the region of Kujawy), in a slow tempo, with a tuneful melody. We hear a stylisation of a kujawiak, for example, in the Mazurka in E minor, Op. 17 n° 2. And finally the oberek-a lively dance in a quick or very quick tempo, with a cheerful, or even exuberant, character. The oberek inspired, among others, the outer sections of the Mazurka in D major, Op. 33 n° 2.
It is possible to find clear similarities between certain mazurkas and authentic Polish folk tunes, yet Chopin never quoted from an authentic folk melody. Quite the opposite: in his mazurkas he creates a brilliant, sublimated synthesis of many elements of folk provenance, not infrequently combining in a single mazurka features from more than one dance. Among the means of stylisation he employs are folk scales, particularly the Lydian and Phrygian.
Indispensable to the interpretation of these works is rubato-the use of free accelerations and decelerations. Chopin usually published mazurkas in sets of three or four to a single opus. His early works in the genre still display clear hallmarks of typical piano miniatures (small dimensions, symmetry of sections), while the late mazurkas turn into expansive ‘dance poems', in which Chopin employs exceptionally refined harmonic means-even polyphony.
One of the few composers who were able to creatively carry forward the genre of the piano mazurka after Chopin was Karol Szymanowski (20 Mazurkas, Op. 50).
Artur Bielecki

Source : http://en.chopin.nifc.pl/chopin/genre/detail/id/6

Frédéric Chopin
Plays
Frédéric Chopin
(1810-1849)

Sonatas & Mazurkas

Tracks

Cd. 1

Piano Sonata n° 2 in B-Flat Minor, Op. 35
1 I. Grave - Doppio movimento  5:22
2 II. Scherzo  5:19
3 III. Marche Funèbre (Lento)  6:26
4 IV. Finale (Presto)  1:28

Piano Sonata n° 3 in B Minor, Op. 58
5 I. Allegro maestoso  9:41
6 II. Scherzo (molto vivace)  2:50
7. III. Largo  7:28
8 IV. Finale - Presto, ma non tanto  5:49

*

Mazurkas

9 N° 1 in F-Sharp Minor, Op. 6 n° 1  1:32
10 N° 2 in C-Sharp Minor, Op. 6 n° 2  1:36
11 N° 3 in E Major, Op. 6 n° 3  1:32
12 N° 4 in E-Flat Minor, Op. 6 n° 4  0:25
13 N° 5 in B flat Major, Op. 7 n° 1  1:10
14 N° 6 in A Minor, Op. 7 n° 2  1:22
15 N° 7 in F Minor, Op. 7 n° 3  2:07
16 N° 8 in A-Flat Major, Op. 7 n° 4  0:49
17 N° 9 in C Major, Op. 7 n° 5  0:28
18 N° 10 in B-Flat Major, Op. 17 n° 1  1:45
19 N° 11 in E Minor, Op. 17 n° 2  :53
20 N° 12 in A-Flat Major, Op. 17 n° 3  3:31
21 N° 13 in A Minor, Op. 17 n° 4  4:08
22 N° 14 in G Minor, Op. 24 n° 1   1:41
23 N° 15 in C Major, Op. 24 n° 2  1:49
24 N° 16 in A-Flat Major, Op. 24 n° 3  1:03
25 N° 17 in B-Flat Minor, Op. 24 n° 4  3:47

*


Cd. 2

Mazurkas
(suite)

1 N° 18 in C Minor, Op. 30 n° 1  1:24
2 N° 19 in B Minor, Op. 30 n° 2  1:11
3 N° 20 in D-Flat Major, Op. 30 n° 3  2:12
4 N° 21 in C-Sharp Minor, Op. 30 n° 4  3:17
5 N° 22 in G-Sharp Minor, Op. 33 n° 1  1:36
6 N° 23 in D Major, Op. 33 n° 2  2:17
7 N° 24 in C Major, Op. 33 n° 3  1:40
8 N° 25 in B Minor, Op. 33 n° 4  4:39
9 N° 26 in C-Sharp Minor, Op. 41 n° 1  3:16
10 N° 27 in E Minor, Op. 41 n° 2  2:17
11 N° 28 in B Major, Op. 41 n° 3  1:06
12 N° 29 in A flat Major, Op. 41 n° 4  1:40
13 N° 30 in G Major, Op. 50 n° 1   1:55
14 N° 31 in A-Flat Major, Op. 50 n° 2  2:14
15 N° 32 in C-Sharp Minor, Op. 50 n° 3  4:21
16 N° 33 in B Major, Op. 56 n° 1  3:30
17 N° 34 in C Major, Op. 56 n° 2  1:27
18 N° 35 in C Minor, Op. 56 n° 3  5:43
19 N° 36 in A Minor, Op. 59 n° 1  2:48
20 N° 37 in A flat Major, Op. 59 n° 2  2:26
21 N° 38 in F-Sharp Minor, Op. 59 n° 3  3:16
22 N° 39 in B Major, Op. 63 n° 1  2:11
23 N° 40 in F Minor, Op. 63 n° 2  1:30
24 N° 41 in C-Sharp Minor,  Op. 63 n° 3  1:39
25 N° 42 in G Major, Op. 67 n° 1  1:12
26 N° 43 in G Minor,  Op. 67 n° 2  1:05
27 N° 44 in C Major, Op. 67 n° 3  1:30
28 N° 45 in A Minor,  Op. 67 n° 4  1:34
29 N° 46 in C Major, Op. 68 n° 1  1:12
30 N° 47 in A Minor,  Op. 68 n° 2  2:36
31 N° 48 in F Major, Op. 68 n° 3  1:16
32 N° 49 in F Minor,  Op. 68 n° 4  1:46
33 N° 50 in A Minor  2:48
34 N° 51 in A Minor  3:02

*

Samson François - p

Recorded Salle Wagram, Paris ; March-June, 1964, cd. 1 [# 1-8] ; & Salle de la Mutualité, Paris ; February & March 1956, cd. 1 [# 9-25] & cd. 2

*

The term “étude” has long been used to describe pieces of technical, sometimes virtuosic, difficulty, focused on training and refining a specific aspect of a performer’s technique. Masters such as Czerny and Hanon wrote notorious etudes that are legendary exercises in finger and hand dexterity and strength. Although invaluable in this regard, these etudes are lacking in musical development, since most of them are merely repetitions of the same general pattern of notes. They have no inherent musicality.
Chopin’s etudes are special in this regard. These etudes inspired many Chopin enthusiasts to seek a piano teacher so that they can emulate the great composer. Chopin was the first to pioneer the etude into an actual art form. Although all of his twenty-seven etudes for piano adhere to the basic principle of an etude – to train and refine a specific aspect of a performer’s technique – there is another element present. Each of the etudes, rather than being a dry repetitive exercise, has its own musical story to tell. Like virtually all of Chopin’s compositions, there is an emotional aspect that transcends the mere playing of notes, and takes a true virtuoso to execute well. This newly developed musical aspect of the etude persisted as a feature of Romantic repertoire; among the other great Romantics, Liszt was particularly famous for his technically intense yet passionate concert etudes.Chopin named very few of his own compositions, almost always preferring to refer to them by opus and number. His etudes were no exception. However, due to their passionate, Chopin-esque nature, many of the etudes have nicknames given either by enthusiastic editors or zealous fans. These programmatic titles have been noted where they are present. Again, it is important to note that Chopin himself did not come up with any of these titles, and most likely even disapproved of them.
One should also note that while each of the etudes focus on a specific aspect of the performer’s technique, all are tied together by a common thread. Even though the Etude Op. 10 n° 1 is a difficult exercise in broad arpeggiated chords and the Etude Op. 25 n° 10 is a taxing study for octave technique, they share something in common. Every one of Chopin’s twenty-seven etudes, in addition to what each specifically focuses on, is an exercise designed to develop a legato style of playing. Chopin’s severest criticism of his pupils was that “S/he does not know how to connect two notes”; nowhere is this philosophy more evident than in his etudes.
Chopin has truly brought about a complete overhaul of the etude art form. He has transformed it from a dry, technical exercise into a lively, emotional story that at the same time develops the pianist’s technique. In this, they are truly Revolutionary. 


Source : http://www.ourchopin.com/analysis/etude.html

Samson François
Plays
Frédéric Chopin
(1811-1849)

Tracks

12 Etudes, Op. 10
1 N° 1 in C Major  2:17
2 N° 2 in A Minor  1:25
3 N° 3 in E Major  3:55
4 N° 4 in C-Sharp Minor  2:05
5 N° 5 in G-Flat Major  1:45
6 N° 6 in E-Flat Minor  2:58
7 N° 7 in C Major  1:32
8 N° 8 in F Major  2:23
9 N° 9 in F Minor  2:21
10 N° 10 in A-Flat Major  2:02
11 N° 11 in E-Flat Major  2:39
12 N° 12 in C Minor  2:55

*

12 Etudes, Op. 25
13 N° 1 in A-Flat Major  2:51
14 N° 2 in F Minor  1:50
15 N° 3 in F Major  1:42
16 N° 4 in A Minor  1:49
17 N° 5 in E Minor  3:09
18 N° 6 in G-Sharp Minor  2:09
19 N° 7 in C-Sharp Minor  5:15
20 N° 8 in D-Flat Major  1:04
21 N° 9 in G-Flat Major  1:04
22 N° 10 in B Minor  4:01
23 N° 11 in A Minor  3:20
24 N° 12 in C Minor  2:35

*

Samson François - p

Recorded Salle de la Mutualité, Paris ; September 5, 19, 23-24 & 26 ; October 1, 3, 7 & 13, 1958 ; & February 9 & 12, 1969

6 comments:

Melanchthon said...

http://www34.zippyshare.com/v/rZkiELKv/file.html
http://www75.zippyshare.com/v/dt06dJ56/file.html
http://www75.zippyshare.com/v/sNUwIZui/file.html
http://www75.zippyshare.com/v/bVAJQkFP/file.html

john_a said...

Hello Mel,
These links appear to be the Sonatas & 51 Mazurkas from the next Samson Francois post, not the Samson Francois - Chopin etudes Op 10 & 25 of this current post.

Thank you so much for showing all these works, fantastic jazz + classical music all in great taste, all the best.

john_a

Melanchthon said...

Etudes
http://www34.zippyshare.com/v/Fc9Q0T0T/file.html
http://www34.zippyshare.com/v/z5Qqwk55/file.html

Zoltán Levente Gugi said...
This comment has been removed by the author.
Zoltán Levente Gugi said...

Please repost!
Thank you very much!

Zoltán Levente Gugi said...

Dear Melanchthon!

Can you reupload this album?

Thank you!