Product Description

Various - Romance I / Weton-Wesgram CD Audio 2005

UPC 8717423014171

Made in EU

Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 1810 – 17 October 1849) was a Polish composer and virtuoso pianist of the Romantic period who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation."

(Achille) Claude Debussy (French: [aʃil klod dəbysi]; 22 August 1862 – 25 March 1918) was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.

Tracklist:

1. Chopin - Etude in C sharp minor Op.25, No.7 (Dieter Goldman, piano)
2. Debussy - Prélude à l'après-midi d'un faune (Late afternoon faun) (South German Philharmonic, conducted by Hans Peter Gmür)
3. Offenbach - The tales of Hoffmann - Barcarole (Royal Philharmonic Orchestra London, conducted by Frank Shipway)
4. Mozart - Symphony No.3 l in D major, 'Paris' K297 Andantino (Mozart Festival Orchestra, conducted by Alberto Lizzio)
5. Tchaikovsky - 'The Sleeping Beauty' Ballet, Op.66 Pas 'Action (The New Philharmonic Orchestra, conducted by Alfred Scholz)
6. Sibelius - Valse triste, Op.44(London Festival Orchestra, conducted by Alfred Scholz)
7. Brahms - Pieces for piano, Op.| 17, No. l 'Intermezzo' in E flat major (Dieter Goldman, piano)
8. Liszt Rustling in the Forest (Dieter Goldman, piano)
9. Mendelssohn - A Midsummer Night's Dream Op.6, No.7 - Nocturne (South German Philharmonic, conducted by Alexander von Pitamic)
10. Bizet - Symphony No. I in C major - Adagio (Camerata Romana, conducted by Alfred Scholz)
11. Haydn - Symphony No.5 'For King Ferdinand IV of Naples' Finale (Camerata Romana, conducted by Alberto Lizzio)
12. Dvorak - Serenade in E major for String Orchestra Op.22 - Larghetto (Philharmonia Slavonica, conducted by Henry Adolph)

Total Playing Time: 68:02

Product Videos

F. Chopin: Etude op. 25 no. 7 in C sharp minor (Horowitz) 05:47

Vladimir Horowitz performing Chopin's Etude op. 25 no. 7 in C sharp minor. Chopin and Horowitz at their very best! At first glance, this etude seems quite simple. There is a beautiful and slightly mournful melody, and the accompaniment consists mainly of slow chords in both hands. There are some sections with left hand sixteenth notes, but once the notes are sufficiently learned and the hand motions become natural, they are not difficult at all. Two or three left hand runs constitute the only fast parts in the entire piece, and learning the fingering makes them substantially easier; they are nothing compared to the runs found in some of Chopin's other works. So what, then, makes this piece an etude? One must not forget that Chopin is nicknamed "the poet of the piano." This etude is actually much more difficult to play well than people claim. (The author knows, since he tried to learn it!) The first difficulty one will come across while trying to put the hands together is that while the melody at first seems to be in the left hand only, it is actually in both hands. In fact, at some points, the melody is rather ambiguous and one cannot be certain whether the right or left hand has the melody note. (Towards the middle and end, this becomes less of a problem.) Therefore, one must have a very good idea of what is happening musically in order to play the piece well. This etude is also an exercise in how singing and delicate one can make the tone. In this respect, it is like the other slow etudes, Etude Op. 10 No. 3 and Etude Op. 10 No. 9. This etude requires an intimate familiarity with the music, which is difficult since it is the longest of the twenty-four. A certain mastery in phrasing is also necessary for a satisfactory performance. Thus, one might call it not an etude for technique, but an etude for musicality and interpretation! It is certainly among Chopin's most emotional compositions. The programmatic title likely derives its source from the left hand "introduction" to the piece, as well as the importance of the left hand in expressing the theme. found on http://www.ourchopin.com/analysis/etude25.html