Modulates to F sharp minor (Bars 317-325, making a sequence with Bars 308-316), then returns to C sharp minor until the last two bars (Bars 332-333), which are in E major.īars 334-365: Theme 6 (leggiero). All in E major, with some use of the ii half diminished seventh chord (Bars 352-353 and 356-357). Modulates to F sharp minor in Bars 277-284, with an imperfect cadence in Bars 280-281, followed by delicatissimo arpeggiation of the dominant chord.īars 285-308: Theme 4 restated. Begins in A major as before (Bars 285-298), then modulates to C sharp minor from Bar 299, with an imperfect cadence in Bars 305-306, followed by arpeggiation of the dominant chord.īars 309-333: Theme 5 (espressivo). Begins in C sharp minor. REPEAT OF A:īars 133-264: A repeat of Bars 1-132, with small rhythmic changes to Theme 1 TRIO (Bars 265-583): B:īars 265-284: Theme 4. Begins in A major (D flat, the previous keynote, now becomes C sharp by an enharmonic change – the third of A major). the G flat in Bar 69, E natural in Bar 97, etc.).īars 117-132: Closing theme – tonic and dominant seventh arpeggios in D flat major. Suspensions and appoggiaturas are used throughout this passage for added expressiveness (e.g. A diminished seventh chord (F – A flat – C flat – D) is used in Bar 87, 103, and 109-112. There is a dominant pedal in Bars 107-116, leading to a perfect cadence in Bars 116-117. 3 in C-Sharp minor, Op.Bars 25-48: Theme 1 restated. Begins in B flat minor as before (Bars 25-36), but then modulates to F minor (dominant) instead of D flat major in Bars 37-48.īars 49-64: Theme 2, all in D flat major, with some use of the flattened sixth degree (B double flat) as part of a dominant minor ninth chord, or part of a chromatic scale.īars 65-117: Theme 3 (con anima). Begins in G flat major, then modulates to A flat major (Bars 73-80, making a sequence with Bars 65-72) and D flat major. 11 in a Minor, "Winter Wind"ġ.12 12 Études, Op. 9 in G-Flat Major, "Butterfly"ġ.10 12 Études, Op. 1 in A-Flat Major, "Aeolian Harp"ġ.6 12 Études, Op. She didn't just surmount the technical challenges she made the pieces sound as poetic and colorful as anything Chopin ever wrote.ġ.1 12 Études, Op. In that regard, Beatrice Rana set a new standard. and the best performances convey their musical riches. They represent three distinct stages of Chopin's life and creativity and it is easy to read stories into them." When Beatrice Rana played the op 25 études for her New York recital debut in 2019, the New York Times wrote: "If you can play Chopin's études comfortably, you can probably play anything written for the piano.
#Chopin scherzo 2 op 31 easy sheet music full
The scherzi are evocative pieces, full of contrasts.
"To me, the études seem implicitly connected, joined by a single line of expression, as if they are taking you on a journey. "It was Chopin who invented the 'concert study'," explains Rana.
It's pleasing to the ear and sincere in it's communication, but the deeper you go, the more you find." For this album, Rana pairs Chopin's 12 op 25 études with his four scherzi, focusing on two musical genres that the composer, combining intellect and imagination, transformed into something new. Chopin is reserved, visionary and mysterious," says Beatrice Rana.
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