- #Chopin music op 10 number 3 sheet music smazon full
- #Chopin music op 10 number 3 sheet music smazon free
Although cleared of being a Nazi collaborator, he wasn’t able to play in the US until 1955. Gieseking was a gentle giant among pianists, but his supposed politics tarnished his reputation. Golden Jubilee Concert (1937) – Rubinstein: Concerto No. 4 World-oblivious and alone with his instrument, (the pianist) can commune with his innermost and best self. Hofmann’s large repertory emphasised Chopin, Beethoven, Schumann, Liszt, and the virtuoso character pieces of his time. His few studio recordings sometimes reveal a clinical craftsman, while in live performance his playing was more temperamental, even occasionally violent. His playing also possessed spontaneity, which led him to highlight ‘inner voices’ and add surprises of dynamics and timing that later listeners can find disconcerting.
#Chopin music op 10 number 3 sheet music smazon full
The quality of his melodic tone was full and round, and commanding or beguiling by turns its prominence in the overall texture lent his sonority nobility. Revered as one of the supreme pianists of his day, Hofmann’s effortless technique permitted a kaleidoscope of tonal colourings and expressive guises ranging from aching tenderness to heaven-storming pandemonium. Eventually he settled in the US, becoming director of the Curtis Institute of Music. 2Īn astonishing child prodigy from Poland, Hofmann ‘retired’ at 12 for further study with Moritz Moszkowski and Anton Rubinstein, then resumed his career at 18.
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Then Chopin takes a dramatically different turn and here is where the interpretive aspect of the music I believe becomes more challenging.
#Chopin music op 10 number 3 sheet music smazon free
Allowing the melody free reign to rise and fall effortlessly over the accompaniment seems vital to me, alongside the gentle application of dynamic expression.įurther on in the Nocturne, (around bar 60), the music becomes restless with fluctuations in tempo and increased chromaticism that blurs the tonality of the piece in a briefly passionate outburst. Look closely at the pedal markings and how the accompanying figure draws attention to the second beat of each bar even though marked with a staccato under a slur. This brings a feeling of unease to the nocturne. On the technical side, you have to take careful note of the phrasing of the melody that does not fall into regular bar lengths. With a tempo marking of ‘lento’, a relatively uncomplicated key-signature of G minor, and a lightly rising melody, where is the challenge? Like so many pieces of music that have been composed, there are technical stalling-points but also interpretative considerations that should not be overlooked. The appearance of the Nocturne is innocent enough.