Fryderyk Chopin Piano Concerto No. 2 in f minor, Op. 21 p. 1 - Maestoso - Tymoteusz Bies скачать в хорошем качестве

Fryderyk Chopin Piano Concerto No. 2 in f minor, Op. 21 p. 1 - Maestoso - Tymoteusz Bies

Fryderyk Chopin Piano Concerto No. 2 in f minor, Op. 21 - Part 1 - Maestoso Tymoteusz Bies - piano Altra Volta String Quartet: Leszek Sojka – violin Jacek Dzwonowski – violin Aleksandra Marko-Lech – viola Michał Lech – cello Guest artist: Jan Kotula – double bass This recording was released through the efforts of the Piotr Kler Foundation Special thanks to Bösendorfer Publishing Partners: RMF Classic, KLER #Chopin #pianoconcerto #TymoteuszBies @Altra Volta kwartet smyczkowy/string quartet Chopin – Piano Concerto in F minor Chopin’s concerts were his first truly significant works after graduation. Publicly performed in March and October 1830 at the National Theater, they met with rapt applause. Maurycy Mochnacki wrote in the ”Polish Courier”, “He will indeed spread his name far, he who begins at such young.” They combined virtuosity and romance, and while the brillant style that is present in them might have reached its apogeum, at the same time it was saying its goodbyes. It is often said that the entire Chopin Competition is won by the concerto in E minor, perhaps the very reason why it’s chosen by pianists so often. However, the Concerto in F minor, Op. 21 – extremely lyrical, and with a subtle color scheme - is just as beautiful a piece. “It reaches such heights, one can barely reach to kiss the hem of its royal robe”, wrote Schumann. And you can also win prizes with it – as Dang Thai Son once proved. I was very happy that Tymoteusz Bies chose this concert for his debut album. He deliberately lays out part I, maintained in the form of sonata Allegra, then interprets the central piece wonderfully. The famous Nocturne Larghetto sounds unusually poignant under the fingers of this twenty two year old. Needless to say, this part of the concert is a real test for the performer, and for their emotionality, and this ‘Piotr Kler Scholarship’ holder navigates this challenge in lyricism deftly. “From the first chord in A flat major, that sounds like opening the gates to a place of love and peace – Chopin speaks to the piano and tells it what to say to everybody else”. It is difficult to disagree with the poet Jarosław Iwaszkiewicz. The final rondeau is a showcase for the pianist’s playful grace which he executes sublimely. Jowita Dziedzic-Golec