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Francois-Rene Duchable - Chopin: Etudes Op. 10 & Op. 25 (1981)

4-04-2016, 19:05
Classical Music | FLAC / APE

Title: Chopin: Etudes Op. 10 & Op. 25
Year Of Release: 1981
Label: Erato Disques
Genre: Classical
Quality: FLAC (tracks)
Total Time: 01:00:14
Total Size: 289 Mb


Etudes, Op. 10
01. N° 1 en Ut majeur 1:55
02. N° 2 en La mineur 1:24
03. N° 3 en Mi majeur 4:03
04. N° 4 en Ut dièse mineur 2:11
05. N° 5 en Sol bémol majeur 1:37
06. N° 6 en Mi bémol mineur 3:49
07. N° 7 en Ut majeur 1:29
08. N° 8 en Fa majeur 2:23
09. N° 9 en Fa mineur 2:03
10. N° 10 en La bémol majeur 2:08
11. N° 11 en Mi bémol majeur 2:36
12. N° 12 en Ut mineur 2:34

Etudes, Op. 25
13. N° 1 en La bémol majeur 2:25
14. N° 2 en Fa mineur 1:33
15. N° 3 en Fa majeur 1:46
16. N° 4 en La mineur 1:44
17. N° 5 en Mi mineur 3:03
18. N° 6 en Sol dièse mineur 1:51
19. N° 7 en Ut dièse mineur 5:45
20. N° 8 en Ré bémol majeur 1:08
21. N° 10 en Sol bémol majeur 1:00
22. N° 11 en Si mineur 3:56
23. N° 11 en La mineur 3:34
24. N° 12 en Ut mineur 2:18

Chopin’s first set of études came out in 1833, modestly entitled Exercices and dedicated to Franz Liszt. Rather idiosyncratically, Schumann considered this set superior to the études of Op. 25. After the rushing arpeggios of Op. 10 n° 1, n° 2 combines a guitar-like accompaniment with a light, elegantly-flowing chromatic run whose fingering (in which R.H. 3, 4 and 5 are constantly passing over or under one another) is distinctly unorthodox for the period. N° 3, which is full of the deepest intensity, centres on the difficulties inherent in a polyphonic texture, for the fingers have to sustain the melodic line in a widely stretched position. By contrast, in the fiery fourth étude the two hands are subjected altemately to a virtuoso challenge. In n° 5, Chopin brings off the clever feat of keeping entirely to the black keys. In n° 6, it is the player’s task to bring out subtle differences of timbre, n° 7 derives its vitality from an unceasing run in double notes. N° 8 is longer, a kind of flaring tourbillion in which an almost naive little motif in the left hand is quite transformed as it proceeds towards a light and elegant coda. The technical problem focused upon in n° 9 is suppleness in the playing of an unchanging pattem of left-hand arpeggios ; but the real interest of the piece lies in the impassioned vehemence and dynamic contrasts of the eloquent right hand. The pathetic is entirely absent, however, from n° 10, so full of spring-like élan : the expressive felicity of this étude conceals some artful subtleties of accentuation. It would be impossible to imagine a more absolute contrast than that presented by the last two études of this set. After the gracility and crystalline sonorities of n° 11, which is in normous arpeggiati chords all through, the tragic heroism of n° 12, that paroxysm of power and excitement, that cry of revolt inspired by the occupation of Warsaw, comes as a complete shock...

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