‘This is an oustanding achievement, which any genuine Chopin lover and student of Romantic music should own a landmark in the recording of Chopin’s. Variations sur “Là ci darem la mano”. Variations on “Là ci darem la mano” Op Frédéric Chopin. LIKE . Follow Chopin, Frédéric (composer). “Hats off, gentlemen, a genius!” Says who? Mozart’s opera Don Giovanni included the duet “La ci darem la mano” – inspiring a set of piano and orchestra.
|Published (Last):||22 August 2012|
|PDF File Size:||13.41 Mb|
|ePub File Size:||18.13 Mb|
|Price:||Free* [*Free Regsitration Required]|
Carl Czerny Tytus Woyciechowski Manuscripts: Variations B flat major on the theme “La ci darem la mano” Op. Variations B flat major, on the theme “La ci darem la mano” Op. Schlesinger Variations B flat major, on the theme “La ci darem la mano” Op. That review was written in a fictional style a device that Schumann would frequently employ: You know the ironic smile on his pale face with which he seeks to create suspense.
Variations on “Là ci darem la mano” (Chopin)
I was sitting at the piano with Florestan. Florestan is, as you know, one of those rare musical minds which anticipate, as it were, that which is new and extraordinary.
chopih Today, however, he was surprised. They were pianistically expressed through the style brillantof which they became a wonderfully representative work. But at the same time they showed signs of romanticism in the air: The introduction proceeds slowly, at a tempo defined as Largo.
It sets the tone, and it is a tone far from that which Mozart bestowed on the duet of this couple of would-be lovers. Intertwined here are restraint and explosion, a sense of lurking and pouncing, and moments of nocturne-like lyricism.
The theme itself appears suddenly and unexpectedly, led by a passage played con forza and prestissimo with force and with the utmost speed.
It is cheerful, like in the Mozart, though manno with a hint of mist, as it is shifted from a sharp key A major to a flat one B flat major. Chopin gave both the theme lq each of the variations orchestral complements. That thunderous tutti may even irritate: The orchestral ritornel accompanied the applause with which the young pianist was received.
Variations on “Là ci darem la mano” (Chopin) – Wikipedia
The theme is followed by variations. The quavers of the theme are replaced with semiquavers, demisemiquavers and even hemidemisemiquavers. But at the same time each of the variations manoo marked by a different character and expression. Chopin gave the first variation the character of a style brillant miniature. He clarified this verbally in the score.
He bade the second variation skip along at the quickest possible tempo. It has the character of music defined as moto perpetuoin regular, constant motion.
Chopin gave the third variation to the solo piano. It became an etude, in which an echo of the theme presented in the right hand is heard against the incessant motion of the left.
Chopin wrote the fourth variation twice, as he was not satisfied with his original idea. On the manuscript, he deleted the precisely written page and added the new version on the blank pages at the end. He instructed this variation to be played con bravura.
It gives the impression of a piece written not for piano but for violin. Despite this, that variation is wholly surprising. So much has been written about this adagio that it would suffice for a small anthology. The first voice would be that of Schumann, who wrote: It is both mischievous and suitable that […] the B flat major, in all its fullness, should accurately designate the first kiss of love.
She played them with great success in many of her concerts. He explains that it is some fantastical tableau. Of the second Variation, he says that Don Juan is running with Leporello, of the third that he is squeezing Zerlina and that Masetto — in the left hand — is angry, of the fifth bar of the adagio he declares that Don Juan is kissing Zerlina in D flat major.
After all, the old professor also wrote: The adagio is followed attacca by the finale. And he was heard by the entire musical elite of Vienna, with Czerny and Gyrowetz to the fore. The Variations were also to the liking of the Viennese publisher Tobias Haslinger. They were published less than a year after the concert, with a dedication to Tytus Woyciechowski on the cover.
In MayChopin informed his friend: They went forth into the world, causing further ripples of enthusiasm. Carl Czerny Tytus Woyciechowski.