Frédéric Chopin - Scherzo No.3, Op.39 (Rachmaninoff, Barere, Cortot, Tamarkina) скачать в хорошем качестве

Frédéric Chopin - Scherzo No.3, Op.39 (Rachmaninoff, Barere, Cortot, Tamarkina)

Frédéric Chopin (1810 - 1849) ⸻⸻⸻⸻⸻ Scherzo No.3, Op.39 (1839) ⸻⸻⸻⸻⸻ Sergei Rachmaninoff (1873 - 1943) Recorded in 1924 ⸻⸻⸻⸻⸻ Simon Barere (1896 - 1951) Recorded in 1949 ⸻⸻⸻⸻⸻ Alfred Cortot (1877 - 1962) Recorded in 1952 ⸻⸻⸻⸻⸻ Rosa Tamarkina (1920 - 1950) Recorded in 1948 Rachmaninoff (0:00) ⸻⸻ Barere (6:53) ⸻⸻ Cortot (14:04) ⸻⸻ Tamarkina (20:46) ⸻⸻⸻⸻⸻⸻⸻ Scherzo No.3 in C# minor, Op.39, is the 3rd of 4 Scherzi composed by Frédéric Chopin, he began composing it 1838 in the abandoned monastery of Valldemossa on the Balearic island of Majorca, Spain, and completed it back in France by the end of 1839. ⸻⸻⸻⸻⸻⸻⸻ It was dedicated to Adolf Gutmann because, according to Wilhelm von Lenz, only Adolf could play the chords in the bass, which cannot be spanned by any left hand (D# F# B D# F# in bar 6). Adolf was one of Chopin's pupil who could apparently punch a hole in a table. ⸻⸻⸻⸻⸻⸻⸻ The scherzo is built upon two sharply contrasting elements. The first theme in C sharp minor starts with a series of strong accents and thundering scales and follows by a fast and heroic march. As soon as the second theme appears in D flat major, the calmness and serenity wipe out the whole tension. These graceful and luminous passages consist of richly harmonized chorale phrases with shimmering waves of falling notes. It is said that these chorale phrases echo songs sometimes heard at the monastery in Valldemossa. The first theme then repeats, not less striking as when it first appears, but ends in a more shocking way that leads to the second theme, which is now in E major, not D flat major. The second theme follows using the same motif as the previous part, but the transition to the repetition in E minor calls for a sad memory that did not even exist before. After several quiet questions, a silent moment, several waves of sound, and falling octaves, the coda finally comes with a lot of agitation and turbulence. When the coda reaches the high E, a series of rolling waves runs up to a high G#, falls down to a daring stroke on A in the bass, and concludes the work with brilliant masterstrokes in C#. ⸻⸻⸻⸻⸻⸻⸻ Louis Kentner described the Chorale section as "a Wagnerian melody of astonishing beauty, recalling the sound of tubas, harps and all the apocalyptic orchestra of Valhalla."